"JAWS 2"
Final Draft Screenplay
by
Carl Gottlieb
Based on a Story
by
Howard Sackler
FADE IN:
UNDERWATER - DAY
Dramatically lit by sunlight filtering down from the surface.
A dim shape, massive, threatening, swims towards us from the
distance. Then it divides -- what was one is two, and the
shape becomes reality; two divers in Scuba gear swimming
side by side. They are wearing minimal rubber, considering
the cool New England waters: "Farmer John" wetsuits with cut-
off legs, assorted sport-diving paraphernalia, including an
expensive camera with a flash attachment.
One motions "Down there," the other signals "OK, I see it,"
and they dive deeper, into darker waters, where the shafts
of sunlight pour into the depths, broken up by seaweed and
floating vegetation into cathedral-like columns of
illumination.
SEA BOTTOM - DAY
The wreck of the working fisherman's boat "ORCA," formerly
under the command of the late Captain Quint, deceased these
four years.
Buried in the sand near it, still connected by rusting strands
of cable, the mangled remains of a shark cage, glimmering
with stainless steel highlights. A fitful flash of yellow
from under a mossy beard -- a battered barrel, similarly
tangled.
The divers, Bert and Ernie, appear. They're fascinated by
the find, and Bert, with the camera, snaps a few flash shots.
The rapid sequence of flashes signals the presence of a motor
drive camera.
ANOTHER POINT OF VIEW
Distant flashes, obscured by vegetation in the foreground.
SEA BOTTOM, THE ORCA
Ernie is exploring the abandoned cabin; doors open and shut,
moved by invisible currents stirred by his passage.
An occasional "Flash!" lights up the bottom as Bert continues
snapping away souvenir shots of this local landmark.
BERT'S POINT OF VIEW - CAMERA VIEWFINDER (PROCESS)
Ernie floats up out of a hatch, sees the camera, and strikes
a pose, clowning for the photographer's benefit. A big hand,
f.g., motions him up into clear water for a formal portrait.
He obliges. Now he floats in front of us, gently paddling
his flippers to maintain vertical stability. One flash.
Another. Then a large, dim movement in the b.g.
Something's out there, moving towards us.
Flash. It's bigger, bearing down like a train in a tunnel.
Flash! It's on us. Flash! Teeth? Blood? Flash! Blackness,
Death.
OCEAN BOTTOM, INSERT
The camera floats gently down and settles in the sand. A
dark red mist eddies by. A last weak flash.
MATCH DISSOLVE TO:
EXT. OCEAN - SUNDOWN
Flash! An expensive cabin cruiser, the "Diver Working" flag
fluttering limply in the breeze, is riding alone at anchor.
Flash! A distant lighthouse beacon winks at us. The boat
rocks in the ceaseless swell.
On the stern, "Elizabeth T. - Newport, R.I." A long way from
home...
DISSOLVE TO:
EXT. AMITY BEACH - DAY
A blue-and-white police jeep is bouncing over the sand. A
figure in civilian clothes driving alone on some urgent
mission. It's Martin Brody, Chief of Police on Amity.
The jeep slows to a stop, and he takes a flight of stairs
leading to a concrete patio two at a time. A classical trumpet
solo is playing in the background. Brody charges through a
door, then abruptly slows and starts moving warily through a
hotel interior: The Holidome, a three-story extravaganza of
a motel, where some sort of formal ceremony is already in
progress. A banner announces: "Grand Opening Ball -- Amity
Scholarship Fund Benefit." Brody crosses under a High School
band, arranged dance-band style on a balcony; the trumpet
player, Polo, is finishing his solo, the assembled crowd
applauds politely. Brody is taking his place with some
dignitaries on the dais, as the presiding authority, Amity
Mayor Larry Vaughn, begins speaking.
VAUGHN
Thank you, Paul Lohman, for that
eloquent solo. Now, for that point
in the ceremonies where we formally
dedicate this magnificent resort-
hotel complex, a worthwhile addition
to the recreational paradise we call
Amity.
ANGLE ON THE DAIS
Seated on folding chairs, wearing their good suits, several
of Amity's Selectmen, Real Estate Developer Len Peterson,
and Ellen Brody, very chic. Brody slips into the vacant chair
next to her. The following is conducted in urgent whispers,
sotto voce, while Vaughn drones on.
ELLEN
Where the hell were you?
BRODY
Late.
ELLEN
I can see that. Don't you know this
is a big deal?
BRODY
Couldn't help it.
Hendricks over there...
(he indicates his
deputy)
...still has the keys
to the jeep in his
pocket, and I couldn't
find the spares.
ELLEN
Terrific. Act as if
you've been here all
along.
BRODY
How'm I supposed to do
that?
ELLEN
Look bored.
VAUGHN
(droning along)
Holiday Inn joins the Amity
Shores development
condominium complex in a
welcome expression renewed
interest in Amity Island
as the hub of the Northeast
Recreational Vacation
Wonderland. We're happy
once again to be in the
center of things, where
the action is... We've had
our share of hard times
and long winters and the
past few years have not
been easy. But today, the
sun is rising on a new
Amity, a new island filled
with promise.
(applause)
Len Peterson's Amity Shores
Development is an exciting
addition to our island.
The Holiday Inn we stand
in is likewise a new friend
who we welcome as family.
Amity means 'friendship'
and our community extends
its friendship to all who
seek her shores in peace
and harmony.
(applause)
Brody settles into polite attentiveness, acknowledging a
wave from Hendricks, a politely bland young town cop in his
idea of civilian finery. Hendricks is fussing with the banner
on an attractive young lady in a bathing suit...
ANGLE ON VAUGHN
VAUGHN
...And now, Tina Wilcox, this year's
Miss Amity, will cut the ribbon that
officially opens this luxurious new
hotel...
Tina (the girl in the bathing suit) escapes Hendricks'
attentions, and teeters on high heels towards the ribbon,
while Phil Fogarty, the local photographer, snaps away.
VAUGHN
Tina was selected from more than 20
of this island's lovely young
ladies in the Miss Amity competition
held every spring, and she'll
represent Amity Island in the Miss
Massachusetts Competition in Worcester
next month. When she cuts this ribbon,
she will be opening our island to
growth, to development, to planned
expansion with full employment for
our thriving community.
ANGLE ON THE BAND
Paul Lohman ("Polo" to his friends) is exchanging whispers
with Lucy, a flute player nearby.
LUCY
I don't think she's such hot stuff.
POLO
When are we going out? You and me?
LUCY
Not tonight.
POLO
You going with Patrick?
Lucy nods, Polo shrugs, and turns to Jane, a girl nearby.
POLO
Listen, Jane -- you want to dance as
soon as we get out of these monkey
suits?
She nods happily, they whisper together, while we:
CUT TO:
ANGLE ON DAIS
Martin and Ellen have been joined by their youngest son,
Sean.
SEAN
Mom, Michael won't talk to me.
BRODY
(to Ellen)
Shouldn't he be at home?
ELLEN
Mrs. Silvera couldn't come.
VAUGHN
This money tree, you may have noticed,
is made entirely of twenty-dollar
bills, donated by Len Peterson, the
builder of Amity Shores Condominiums,
as a gesture of goodwill towards the
community. $500 as a special gift to
the Amity township scholarship fund...
Applause from the crowd, Len takes a bow.
VAUGHN
(prompting)
Go ahead, Tina.
ANGLE ON TINA
as she reaches out with the scissors. Something catches her
eye, and she winks at her boyfriend, Ed Marchand, smirking
in the crowd. He winks back, and makes "Cut it" motions with
his fingers.
ANGLE ON THE CEREMONY
Tina cuts the ribbon, and Tom Andrews, a local diver, pushes
a decorated float out into the pool; sparklers sputter,
balloons drop from the ceiling.
VAUGHN
Thanks to Tom Andrews, of Amity Aqua-
Sports, for contributing the special
decorations. And now, the Amity High
School band. Refreshments on the
patio, everyone...
The band swings into "Downtown," and the crowd gets up to
dance, to eat, and to break into small groups to talk.
DISSOLVE TO:
INT. HOLIDOME - LATER
Ellen is dragging Brody over to where Len Peterson and Larry
Vaughn, the mayor, are in conversation. They pass vignettes:
Tina and Ed, Tom Andrews and Jane, Marge, other interesting
Amity townspeople.
BRODY
(seeing Peterson and
Vaughn)
Do I have to talk to those two?
ELLEN
My boss and your boss. Sure.
VAUGHN
Hello, hello. It went well, I thought.
BRODY
Very impressive ceremony. Good speech.
VAUGHN
Thank you, thank you. You know my
son, don't you?
He beckons over their heads to Larry Vaughn, Jr., a young
man uncomfortable in his correct tie and blazer. They exchange
perfunctory greetings.
PETERSON
The speech was right on the money.
(to Ellen)
Be a love and make sure the bar's
open, will you?
He puts his arm around her, a little too familiarly for
Brody's liking.
PETERSON
(to Brody)
Fantastic lady. Don't know what I'd
do without her.
BRODY
Me neither.
PETERSON
(looking around)
Y'know, Brody -- for the first time
in years it's worth putting money
into this town.
BRODY
All of us thank you, okay?
ELLEN
Watch Sean for a minute?
And she hands Sean off to Brody, leaving him with an over-
active 10 year old, while she's gone.
SEAN
Can I go swimming?
BRODY
No. Find your brother, okay?
Sean nods and runs off, happy to have a mission.
CUT TO:
ANGLE ON MICHAEL BRODY - NEAR THE BAND
He is talking to Brooke Peters, a mop-maned teen-ager with a
pleasant face.
Timmy Weldon, a grade behind, lurks nearby. A plumpish, curly-
haired buddy, Andy Nicholas, is enjoying a cup of punch.
MIKE
How old is your cousin?
BROOKE
Seventeen. She's a senior.
MIKE
I'm not crazy about blind dates.
ANDY
They're okay, if they got little
white canes and tin cups.
BROOKE
That's awful.
ANDY
What the hell.
(to Mike)
Did your mom put all this together?
MIKE
Yeah, it's her job.
ANDY
Is she responsible for the punch?
MIKE
No.
ANDY
Good. It's terrible.
BROOKE
My cousin will be here tomorrow.
MIKE
Great.
Sean finds them, and bursts into their group.
SEAN
Michael, Michael, Dad said to find
you.
ANDY
Okay, you did that.
SEAN
Come on, Mikey, come on...
He tugs at Mike's sleeve; Mike allows himself to be dragged
off.
MIKE
Okay, okay. Got to go.
Andy and Brooke are left standing together, Tim moves in.
TIM
(to Brooke)
Want to dance?
(she shakes her head
"no")
Okay. Later?
On her shrug, as she turns to Andy:
CUT TO:
INT./EXT. HOLIDOME PATIO/TERRACE - NIGHT
It's later; night has fallen, the band is playing its version
of "When I Fall in Love." Many teen-agers are dancing out on
the patio, some adults are dancing inside, the buffet is
ravaged, Timmy is watching Brooke, who's dancing with Polo.
Douglas Fetterman ("Doug") joins him, after asking Marge for
a dance and striking out.
DOUG
Get a dance yet?
TIMMY
Nope.
DOUG
Me neither.
TIMMY
Who'd you ask?
DOUG
Tina Wilcox.
TIMMY
You're crazy. She's Ed's girl friend.
DOUG
Doesn't hurt to ask. Sometimes the
most beautiful girls are the
loneliest.
TIMMY
That's a crock of shit.
DOUG
I know.
Bob Burnside, a tall pal of Larry Vaughn Jr.'s, turns up by
their side.
BOB
Same tired old faces. You see Vaughn?
DOUG
The mayor?
BOB
Larry Vaughn Junior?
(Doug shrugs)
If you see him, tell him I got a six-
pack, a blanket, and the Brebner
twins.
He exits, on the prowl.
TIMMY
No class.
DOUG
None at all.
(pause)
I wonder what the Brebner twins are
doing tomorrow night.
ANGLE ON BRODY AND ELLEN
BRODY
Can you take a little time out from
your busy schedule to dance with the
old man?
ELLEN
Why?
BRODY
Because they're playing our song.
And sure enough, they are -- the band has turned to a Fifties
slow-dance standard: "I Wish You Love." Peterson approaches.
PETERSON
May I have this dance?
BRODY
Sorry, I'm all booked up...
(taking Ellen)
Come, m'dear.
They slowly fox trot out onto the terrace. Both of them
nodding greetings to townspeople and kids -- everyone knows
the chief.
BRODY
Remember 1959, the Jersey shore?
ELLEN
And how. I thought you wouldn't
respect me.
BRODY
I did, I did.
The music and the summer moon are working their magic.
BRODY
Listen -- what are you doing later?
ELLEN
Fooling around?
BRODY
Right.
He dips with her; they look up and notice Sean, sound asleep
on a bench.
ELLEN
Let's get the kid home.
BRODY
Home it is.
He crosses to the sleepy Sean and hoists him with a grunt.
BRODY
(to the kid)
You're getting a little big for this.
Sean murmurs sleepily and hugs his dad. Mike, dancing with
Marge, waves good-bye. The Brodys start to leave, passing a
bucket with a bottle of champagne still in it. They exchange
a look, nod agreement, and Brody boosts the bottle, sneaking
it out of the building while Ellen giggles.
DISSOLVE TO:
INT. BRODY BEDROOM - DAY
Brody and Ellen are snuggling under the covers while early
morning light streams under the blinds. It's The Morning
After, and the clothes from the night before are scattered
all over the room. Brody rolls against Ellen, spoon-fashion,
morning-horny.
BRODY
Mmmm.
ELLEN
MMMmmmorning...
They start to move a little, then turn face to face. Outside
their door, the sounds of little feet; Sean padding
downstairs.
BRODY
Sean's awake.
ELLEN
Door's locked.
BRODY
(kissing)
Good.
Their bodies move under the blankets. There's a crash from
the kitchen. They stop for a beat. As they resume, little
feet return.
SEAN'S VOICE
The milk fell out of the 'frigerator.
ELLEN
(whispering)
Put a towel down. And shh -- daddy's
sleeping.
SEAN'S VOICE
Okay.
His feet paddle off. Brody and Ellen start to slide together,
passion resumes.
ELLEN
C'mere...
Bigger feet go downstairs; Michael's up. The Brodys kiss,
trying to ignore the sounds of spirited discussion between
brothers over who's responsible for spilled milk. Then the
sound of a car pulling into the driveway, and a horn beep.
BRODY
Mrs. Silvera?
ELLEN
Mrs. Silvera.
They try to kiss again, there's a door slam downstairs, and
talk between the boys and Mrs. Silvera. The Brodys look at
each other and break up laughing at the morning, and
themselves.
ANGLE ON THE BED
As Ellen and Brody, with the practice of 18 years of marriage,
swing back-to-back, and put their feet on the floor, each on
their side of the bed, still chuckling, up for the day.
BRODY
Need a ride?
ELLEN
As far as the office.
CUT TO:
EXT. AMITY STREET DAY
The police jeep is driving through the picturesque streets,
Brody behind the wheel, Ellen and Sean passengers. It slows
near the foot of the street, dockside, where a real estate
office marked "Amity Shores Development, Leonard Peterson,
Pres." sits. Peterson's big Cadillac is parked illegally at
the curb. It has the Amity Shores logo on its side.
BRODY
Some people.
SEAN
What's daddy doing?
ELLEN
Writing a ticket.
Brody is out of the car, his pad in his hand.
ELLEN
Hey! That's my boss!
BRODY
Better yet.
Peterson, in shirt-sleeves and a tie, hustles out of the
office
PETERSON
Wait a minute...
BRODY
Too late, it's written.
PETERSON
Heck of a way to treat a taxpayer.
(to Ellen)
Don't you have any pull with the
chief, here?
ELLEN
Do I have to?
PETERSON
(taking the ticket)
Better get a sales kit together for
after lunch. I'm taking some prospects
out.
Ellen kisses Brody, and starts in for her day's work.
ELLEN
See you later.
PETERSON
(to Brody)
Can't we fix it up to get this made
into a green zone or something?
BRODY
Len, pay the two dollars.
Peterson shrugs and goes inside his office. Brody's attention
is drawn by some noise by the dock.
EXT. DOCKSIDE, AMITY - DAY
Hendricks and an old codger, Red, are working on Amity's
newest bit of police equipment; a blue power launch for
patrolling local waters. The boat is Hendricks' personal
pride and joy.
HENDRICKS
(to Red)
Tie it off on your left. Your other
left!
As Red complies, Hendricks spots his boss.
HENDRICKS
Good morning!
BRODY
(walking onto the
dock, Sean tagging
along)
Aren't you off-duty?
HENDRICKS
Till noon. This is on my own time.
(to Sean)
Hi, Shorty.
SEAN
I'm not short. I'm eleven.
There's a hoot from a passing boat horn. Sean waves happily.
ANGLE ON THE BOAT
It has slowed to a halt in front of the police berth; it's a
scruffy working fisherman, back from the banks with a full
load. The Skipper hails Brody.
SKIPPER
Yo! Chief!
BRODY
What?
SKIPPER
You got a gold-plater drifting in
the main channel. Big cruiser.
HENDRICKS
Whereabouts?
SKIPPER
Off the Point. No running lights,
just a diver's flag.
HENDRICKS
(aside to Brody)
Want me to run out there?
BRODY
On your own time?
HENDRICKS
Happy to do it.
BRODY
Then check it out. I'll be in the
office.
Hendricks nods, and starts the engine importantly.
HENDRICKS
Cast off your bow line. And your
stern line. Spring line...
While Red grumbles, Brody and Sean are walking up to the
street.
Michael and some teen-agers are headed down to the dock.
ANGLE ON BRODY AND THE KIDS
It's Mike, Polo, Patrick, Lucy, Brooke, Ed and Tina.
BRODY
Where to?
MIKE
No place special. Just hanging out.
BRODY
Sailing?
Mike nods.
BRODY
Watch your kid brother, huh?
He gets into his jeep, leaving Sean with the teen-agers.
BROOKE
Bye, Mr. Brody.
The others ad lib appropriate greetings/good-byes, as Brody
drives off in his jeep.
EXT. DOCKSIDE - DAY
The Kids busy themselves with their boats while Sean hovers
around Mike, who's not happy at baby-sitting his kid brother.
POLO
Anyone want to sail to
the lighthouse?
PATRICK
Machs nix to me.
LUCY
Anyone got a spare
mooring line? Mine's
shot.
TINA
I've got one...
SEAN
Can I go too?
MIKE
No.
SEAN
Please.
MIKE
I said, 'No.'
Tina's in her boat, "Tina's Joy," a neat sloop. Mike is going
over his "Green Machine," a sleek catamaran.
BROOKE
You're not going out right away, are
you?
MIKE
Waiting for Andy.
BROOKE
I want you to meet my cousin.
MIKE
I will, I will.
SEAN
I want to go out with you. You need
a crew, don't you?
Before Sean can protest further, Mike spots his crew: Andy
Nicholas, a round-faced, frizzy-haired pal, wearing a bathing
suit, and carrying some scuba gear from an early-morning
diving class. Marge and Denise, two other divers, are with
him, with their gear. They ad-lib "good-byes."
MIKE
I don't need you. Andy's here.
SEAN
You always go with Andy.
MIKE
(to Andy)
How was dive class?
ANDY
Same as always -- glub-glub, bubble-
bubble, stroke-stroke. There sure is
some weird shit on the bottom of the
ocean.
BROOKE
Shells and lobsters and stuff?
ANDY
Mostly old garbage. Today we found a
'48 Hudson.
SEAN
Do I have to play with the little
kids?
MIKE
Yeah. Go on, beat it.
Sean mopes away while Andy and Mike get their boat ready for
sea.
FOLLOW SEAN OFF THE DOCK
Up on the street, where a pretty girl with a sexy face and a
provocative post-pubescent walk is asking him directions.
He points down at the dock. The Girl, Jackie Peters, waves
at her cousin, Brooke.
JACKIE
Brooke! Hey!
One of the boats has a portable radio going. It's playing
some medium-hot salsa. Jackie does a couple of dance steps
on her way down the dock.
CLOSE ON ANDY AND MIKE
ANDY
Who's that? Quick -- I'm in love.
MIKE
I hope that's the cousin.
BROOKE
Over here. I want you to meet
somebody.
ANDY
Lucky. Lucky, lucky, lucky.
As the four teen-agers come together in a tight quartet, the
music rocks up and we:
CUT TO:
EXT. HARBOR - DAY
Later in the day, sailboats with bright colored sails and
ornately painted hulls tack back and forth. Lots of chatter
between boats, horseplay, splashing, and general good times.
It's cruising, on water.
EXT. HARBOR, ABOARD MIKE'S BOAT - DAY
with Mike, Andy, Jackie and Brooke.
JACKIE
How fast does this go?
ANDY
With the right wind, 15-20 knots.
JACKIE
What?
MIKE
Real fast.
He sheets in, heeling the boat over in the stiff breeze.
BROOKE
Far out!
Jackie screams in excitement; for a city girl, this is more
fun than a roller coaster.
ANGLE ON A RED CATAMARAN, "SIZZLER"
overtaking Mike's boat. It's piloted by Larry Vaughn, Jr.,
the Mayor's Son; with him is his good friend, Bob Burnside.
LARRY
Coming up!
BOB
Gangway, Turkies!
It's immediately a race between the red boat -- "Sizzler,"
and Mike's "Green Machine." The Kids ad-lib -- "Faster,"
"Lookout," "Gybe, gybe."
ANDY
We're carrying weight.
LARRY
We'll take your supercargo.
JACKIE
Is that me?
BROOKE
That's you.
JACKIE
I've never been supercargo.
Donny and Denise's boat cuts in, stealing the Sizzler's air.
LARRY
Hey, get out of our air!
DONNY
Want a passenger?
ANGLE ON THE SIZZLER AND FELIX
Denise hops nimbly from one boat to the other as Danny sails
tight as a tick to the red cat.
BOB
Way to go!
QUICK CUTS: FUN AT SEA
The sailboats cutting up, cruising the harbor, the local
teen-agers partying with each other:
-- Patrick and Lucy's Sol Cat, flying its hull.
-- Susie's Laser heeled 'way over' in a stiff breeze.
-- Polo and a pretty girl in his sloop, "Sea Witch."
-- Timmy Weldon and Doug Fetterman playing catch-up in their
respective boats, the Doughdish and the Inflatable.
-- Marge in her Lightening, sailing close to Ed and Tina in
Tina's Joy.
CUT TO:
UNDERWATER NEAR THE ORCA - DAY
Silent, green-blue depths. A diver, Crosby, working the
bottom, running a search pattern. Another diver, Tom Andrews,
running close. They signal to each other, and make another
pass.
Follow Tom Andrews as he skims the bottom, near the wreck of
the Orca, half-buried in the silt. A diver's line runs up
and
OUT OF THE FRAME, TO:
EXT. OCEAN - DAY
Bobbing on the surface are three boats: the Amity Police
launch, the deserted Elizabeth T., from Newport, flying a
diver's flag, and the ScubaVue, a local diveboat operated by
Tom Andrews and his partner, Crosby; it has "Amity Aqua
Sports" lettered on it somewhere. Hendricks and Red are on
the deck of the police boat, peering at the cruiser.
HENDRICKS
Rich or poor, it's nice to have money.
RED
Figure they split?
HENDRICKS
Happens every season -- someone takes
off. Once we had a schooner for a
month while the owners went fox
hunting.
A sudden eruption in the water nearby startles them -- it's
Andrews, surfacing, holding up the underwater flash camera.
ANDREWS
This is all there is.
Crosby pops up next to him, shows empty hands.
HENDRICKS
If that's it, that's it.
The divers head for their boat, Hendricks fires up his engine,
and we:
CUT TO:
INT. BRODY'S OFFICE - DAY
Brody is trying to reason with an indignant fat man.
INDIGNANT MAN
I can't watch the news, I can't watch
a ball game, I can't watch movies --
all I hear is that rotten kid with
his rotten radio... "Breaker,
Breaker..."
BRODY
I'll do what I can, but you're talking
about a federal jurisdiction...
INDIGNANT MAN
(leaving in a huff)
So call the FBI!
POLLY
Black, two sugars.
BRODY
Thanks. What else is out there?
POLLY
One petty theft, one domestic
disturbance, and an exhibitionist.
BRODY
I'll take the exhibitionist, you
handle the others.
WOMAN
Chief Brody? I want you to do
something about my first husband.
Brody is caught in the open.
WHITE-HAIRED MAN
Martin, you have got to demand that
Grace Kinney keep her shades down.
2ND MAN
What about enforcing the "No Parking"
ordinance on Beach Road?
BRODY
In a minute, in a minute -- talk to
Mrs. Prendergast, please...
WOMAN
(continuing)
Albert keeps coming
around when I'm with
gentlemen friends and
he throws mud on their
cars...
2ND MAN
(eager to be heard)
Every time there's an out-
of-state car in my driveway,
I lose another mailbox.
Those little iron sailboats
cost thirty-two dollars
each!
BRODY
(to White Haired Man)
Talk to me about Mrs. Kinney.
WHITE-HAIRED MAN
Her bedroom window faces my oldest
boy's bedroom, and she's teasing
him, dancing around in a towel, or
less...
BRODY
Dancing?
Hendricks has entered, carrying the camera brought up from
the bottom by the divers.
HENDRICKS
Chief...
BRODY
Hendricks. I want to go over your
reports and your Form 908.
They go into Brody's inner office; the uproar continues behind
the door, but it's calm in here.
HENDRICKS
I never heard of a 908.
BRODY
I just made it up. It means, "Get me
out of there."
(notices the camera)
What the hell's that?
HENDRICKS
Diver's camera. Tom Andrews brought
it up from under that abandoned
cruiser.
BRODY
Abandoned? It's a little early in
the season for that.
HENDRICKS
Rich people. Home port is Newport,
Rhode Island.
BRODY
If I had a $100,000 boat, I sure as
hell wouldn't leave it anchored alone
in the channel.
HENDRICKS
If you had a $100,000 boat there'd
be an investigation.
Hendricks puts the camera in an informal "Lost & Found" box
sitting in the office. Brody makes the mistake of opening
the door, revealing the White-Haired Man.
WHITE-HAIRED MAN
Grace Kinney is driving my boy to
distraction.
BRODY
Hendricks, get a description of that
dance.
LARGE MAN
(to Brody)
Chief Brody? I want to talk to you
about my daughter... she's 15, but
mature for her age...
WOMAN
Chief, I've been telling
Mrs. Prendergast that
it's no good just
talking about Albert,
she's got to do
something...
2ND MAN
Look -- the township is
responsible for protecting
life and property, and my
property is unprotected...
As Brody turns to deal with the mess, we:
CUT TO:
UNDERWATER
Looking up at the surface, where a hull floats in silhouette
against the daylight. There's a commotion, and a water ski
drops into view. Then another one. Pale legs churn the water.
CUT TO:
EXT. OCEAN - DAY
Off Amity Beach, a bilious green lap-straked boat is bobbing
in the water, the engine idling. Two girls are fooling around;
the one in the water is Terry, the one driving the boat is
Diane.
TERRY
Did you ever see a dolphin?
DIANE
Sure. They like to play. We may see
some today.
TERRY
Great!
She fumbles with her skis.
TERRY
Whoops, almost lost one. Can't play
with the dolphins without skis...
DIANE
Ready?
TERRY
Hang on, hang on... Okay, go.
Diane goes to the controls, and puts the engine into gear,
starting forward. Terry waves "okay," Diane opens up the
throttle, the boat surges forward, pulling Terry upright.
A wake boils out from under her skis.
ANGLE ON THE BEACH
Ed and Tina are camped on a blanket, necking in the shelter
of the dunes. There's a portable radio, a cooler with some
beer, and some sandwiches -- a perfect afternoon alone. Above
the dune, behind them lies the ocean, where the girls' ski
boat can be seen, raising a big wake. Tina disengages, and
sits up, brushing sand out of her hair.
TINA
Take a break for a minute, okay?
ED
Huh?
Tina stands, and looks out to the sea, where the boat is
towing Terry on the water.
TINA
Eddie, can we do that?
(no reaction)
Can we go skiing? We can use my
Uncle's boat. Eddie?
ED
Next week.
TINA
With you, everything's next week. I
want to go skiing soon. Tomorrow?
Ed grunts non-comittally. Tina takes a beer from the cooler,
and goes up on the dune to watch Terry and Diane. She waves
to them, and to someone down the beach.
EXT. BEACH HOUSE - DAY
An old lady, Grace Witherspoon, is rocking on her porch,
also enjoying the view of young people enjoying themselves.
She acknowledges Tina's distant wave, and turns her attention
back to the skiers.
ANGLE ON THE SKIERS
having a wonderful time. Terry is good, criss-crossing the
wake, showing off.
CLOSE ON TERRY
rushing through the water, waving, stunting.
TERRY
Faster! Faster!
She waves at Diane, who leans over the controls, to coax
more speed out of the old engine.
UNDERWATER
following the skis effortlessly, closing in on the turbulent
wake.
ON THE SURFACE
Terry whipping along; a fin raises near her. She glances at
it, waves, thinking it's a porpoise.
TERRY
Porpoise! Look! A dolphin!
The fin slides low in the water, heading towards her. She
puts the rope around her waist, leaving both hands free.
UNDERWATER
Closing in on the wake, crossing it.
TERRY - ON THE SURFACE
The fin cuts across her path. Too late to maneuver, Terry
hits the looming gray back of the Shark. The skis bump, leave
the water, Terry takes a spectacular spill. The rope around
her waist tows her helpless through the water, gagging her,
preventing her from shouting. She flounders as Diane slows
the boat to see what's happened.
ANGLE ON THE BOAT
turning back to see if her friend hit a submerged log or
hurt herself.
DIANE
Terry! You okay?
TERRY
Help! Help!
DIANE
Okay, okay, coming...
She still doesn't realize the gravity of the situation --
she hasn't seen the fin.
ANGLE ON TERRY
hysterical, pulling herself hand-over-hand up the rope, trying
to get to the boat.
UNDERWATER
Closing in on the thrashing figure.
TERRY
Screaming, as the Shark rises from the deep and takes her.
Suddenly she's gone, a swirl of pink froth marking the water
where she went under.
IN THE BOAT - DIANE
Looking around for her friend, suddenly panicky. She pulls
the rope hard, and tumbles backward as it comes up with
nothing on it -- just a cleanly bitten end.
DIANE
(screaming)
Terry!
Then the Shark appears, blood on its mouth, lunging up and
butting the stern, jarring the engine loose. Fuel spills
from a ruptured line.
DIANE
Help! God, help!
She throws things at the Shark, which slides back under the
water.
DISTANT ANGLE ON THE BOAT - FROM THE BEACH
Diane can be seen flailing in the boat, very distant screams
floating across the water; at this range they sound like the
normal shrieks of teen-age girls having fun....
ANGLE ON THE BOAT - CLOSE
as the Shark hits from a fresh angle, this time taking a
chunk out of the boat, biting down with powerful jaws. Diane
hurls seat-cushions, oars, anything she can lay hands on.
She fumbles desperately in a compartment, produces a flare
pistol. She cocks it and fires point-blank at the shark.
CLOSE ON THE SHARK
The flare hits, wet fuel glistening on the water and skin of
the Shark explodes in a sheet of flame.
DIANE
A last flash before the gasoline explodes.
DIANE
No-o-o-o-o-o...!
A sheet of fire, she's in the middle, screaming, aflame, the
Shark forgotten. She falls into the water as the ruined boat
overturns and there's an oily explosion.
EXT. BEACH - DAY - ED AND TINA
Ed and Tina look up as they hear the distant "crump" of the
boat blowing up.
EXT. PORCH - DAY
Mrs. Witherspoon looks up, startled by the sudden tragedy.
She gets up to go to the phone, indoors, and we:
CUT TO:
EXT. OCEAN - DAY - AMITY POLICE BOAT
The launch is anchored at the site of the explosion, offshore.
Red is fishing up bits of flotsam with a boathook. Hendricks
is on the radio, talking to the shore.
HENDRICKS
I can't find anyone out here. They
must've gone to the bottom, or drifted
with the current.
BRODY ON SHORE
He's on the porch of tile Witherspoon house, using his
portable walkie-talkie. Mrs. Witherspoon is waiting in the
b.g.
Nearby, we can see a sign: "BURIED CABLE: Call New England
Light and Power Before Digging." The cable itself surfaces
in a chain-link fenced enclosure, and climbs a power pole
for distribution to the island. Ed and Tina are also there,
having given statements.
BRODY
There should be bodies. Witnesses
say two people; one in the boat, one
skiing.
HENDRICKS (O.S.)
(filtered)
I told you -- nothing here.
BRODY
Try dragging.
HENDRICKS (O.S.)
For how long? Current's moving
everything around, and it's getting
dark.
BRODY
Stay on it. I don't care how long it
takes.
HENDRICKS (O.S.)
10-4.
Brody turns to Ed and Tina, and takes out his notebook.
TINA
We heard this noise, like a 'boomp'
out there, and when we looked, there
was just this cloud of smoke.
GRACE
That was the explosion. One minute
they were having a wonderful time,
the next, bang!
BRODY
GRACE
I don't know what could've done that.
Brody stares out at the quiet sea -- what's lurking under
that calm surface?
TINA
Can we go now?
Brody's still looking past them, towards the ocean.
TINA
Chief Brody -- can we go? Please?
BRODY
Oh, yeah. Sure.
As he gazes at the ocean, we hear the sound of a distant
siren, and
CUT TO:
EXT. AMITY - DAY
An ambulance, siren wailing and red light flashing, drives
on its melancholy way through the picturesque town.
DISSOLVE TO:
ABROAD THE POLICE BOAT - NIGHT
Hendricks has the winch in operation, the cable in his hand,
with big grappling hooks attached. The boat is lit by its
powerful worklights. Hendricks heaves them out, watches as
the current takes them, then puts the winch in gear, hauling
back.
RED
How much longer?
HENDRICKS
Until we find something.
RED
I don't care about the overtime, I'm
hungry. And cold. And most of all,
bored.
INSERT - THE WINCH CABLE
It goes taut with a sudden strain.
ANGLE ON HENDRICKS
He sees it, too.
HENDRICKS
I think we got something.
Red moves to the winch, watching warily as it slows to a
near stall with the weight.
RED
About damn time.
HENDRICKS
What the hell is it?
There's a strain on the cable -- it's pulling the stern of
the boat down as it struggles with the weight.
HENDRICKS
Here it comes...
ANGLE ON THE WATER
lit by the harsh worklights on the deck of the launch. The
cable from the winch is taut, pulling something up from the
black depths. What? The coupling appears, then the hook, and
an oily cable.
RED
Oh shit. Drop it.
HENDRICKS
What is it?
RED
Power line.
HENDRICKS
Oh, great.
He hits the release on the winch, and the cable whines as it
spins out and settles back on the bottom. Red jiggles the
line, trying to free it up.
RED
It comes here from Cable Junction.
HENDRICKS
Untangle it and let's go -- We don't
need a blackout on the island.
RED
(at the winch)
Now you're talking. Let's get out of
here before we do find something.
DISSOLVE TO:
INT. BRODY KITCHEN - DAY
The next morning, the Brody family is downstairs, each getting
his own special breakfast. Mike gets cereal for himself and
Sean, Ellen is cracking some soft-boiled eggs, Brody is
drinking coffee and smoking.
ELLEN
You have to smoke so early in the
morning?
BRODY
It's good with coffee.
ELLEN
So's a donut.
SEAN
I want Fruit Loops!
MIKE
Eat Cheerios.
SEAN
You eat Cheerios. I want Fruit Loops.
ELLEN
Eat Cheerios.
BRODY
What're you guys doing today?
MIKE
(indicates Sean)
I don't know about him -- I'm going
down to the dock, maybe go sailing.
BRODY
Every day?
MIKE
What else is there to do?
BRODY
You could work out at the beach,
make a few bucks for school.
MIKE
Do I have to?
BRODY
You'll have to make up your own mind
about that.
ELLEN
Where's my day book?
BRODY
In the den.
Ellen passes them on the way to the den to look for it.
ELLEN
He doesn't have to work all the time,
it's his vacation.
Mrs. Silvera enters from the service porch.
MRS. SILVERA
Good morning -- everyone up early
today?
BRODY
There's a lot going on.
He follows Ellen into the den.
INT. DEN - DAY
Ellen is rummaging around the papers on the end table, looking
for her book.
ELLEN
Why don't you take a half day and
clean this junk up?
BRODY
Because, I'm in the middle of a
boating accident, I got only four
regular cops and one secretary, and
a Chief Deputy who is constantly
fiddling with the police boat. He's
another one.
ELLEN
One what?
(she finds the book)
Ah-ha!
BRODY
Boat nut. What is it about this place
that makes everyone a freak for
boating?
ELLEN
It's an island.
(she pecks him on the
cheek)
Got to run.
She heads out the door for the office. Mike approaches.
ANGLE ON MIKE AND BRODY
MIKE
I'm going.
BRODY
What about tennis? Riding? Fixing up
old cars? Bartending?
MIKE
Bartending? I'm 17.
BRODY
Okay, not bartending. Why on the
water every day?
MIKE
Because.
BRODY
Look, humor the old man -- just be
careful.
MIKE
(going)
I'll be careful. I'll see y'later.
INT. KITCHEN
Mike passes through on his way out, nodding to Mrs. Silvera
who acknowledges his passage. Brody is close on his heels.
BRODY
Don't go out if it's rough or
anything, huh? We've had a lot of
trouble.
MIKE
Okay, okay.
The back door slams behind him.
SEAN
Can I go with you today?
BRODY
You stay with Mrs. Silvera, Tootsie.
Okay?
Sean nods, resigning himself to the inevitable.
MRS. SILVERA
(to Sean)
You can come with me to the market.
SEAN
All right.
BRODY
I'll be at the office.
Mrs. Silvera nods, and pours Sean a glass of milk. Brody
sighs, and heads out the door. Sean calls after him.
SEAN
Bye, Daddy. I'm going to be careful,
all day.
CUT TO:
EXT. OCEAN - DAY
Sitting snug and ship-shape on Mike's Green Machine are Mike,
Andy, Brooke, and Jackie. They are heeled over in a brisk
wind, making good headway; sailing nearby in the b.g. are
Patrick and Lucy and Donny and Denise, in their boats.
LUCY
(from her boat)
Where're we going?
ANDY
Oh, out a ways. Maybe the lighthouse.
BROOKE
The lighthouse?
ANDY
No big thing, we'll see who's out
there, maybe picnic.
MIKE
We got some stuff at the store. Ed
and Tina are going to be there.
BROOKE
Oh, sure, they would be.
JACKIE
What's the lighthouse?
MIKE
It's an island, near here, with a
lighthouse. We sometimes hang out
there, you know...
JACKIE
Great. I got some wine.
She opens her big floppy bag, revealing the top half of a
jug of Mountain Red. Brooke slides over to her.
ANGLE ON BROOKE AND JACKIE
BROOKE
(aside)
The lighthouse is a make-out spot.
JACKIE
Now I really want to see it.
BROOKE
You going to fool around with Mike?
(Jackie shrugs)
Well, I'm not doing anything with
him.
She indicates Andy, who pretends great indifference.
JACKIE
Well, maybe I will, then.
Andy does about a triple take before he regains his cool.
Mike concentrates on his sailing, Jackie grins an impish,
vixen grin, Brooke shrugs.
CUT TO:
EXT. LIGHTHOUSE - DAY
spectacular view from the top of the old lighthouse, showing
ocean, sandy beach, some of the Kids' catamarans pulled up
on the sand, other pleasure boats cruising in the b.g.
Ed and Tina are running down the stairs, laughing.
ED
Come on back up here!
TINA
Nope.
ED
Give me back my hat!
TINA
Double nope!
ANGLE ON THE SAND
where Andy, Mike, Jackie, and Brooke are camped around a
blanket listening to a portable radio. Ed and Tina run by.
ANDY
Why'd they decide to move?
BROOKE
Too hot in the lighthouse?
MIKE
Too hot for those two? I can't believe
it.
JACKIE
Is there something I don't know about?
BROOKE
I told you, remember?
JACKIE
Oh, yeah. So why aren't they doing
it now?
There's a little round of giggling.
ANDY
Maybe by now they are.
MIKE
They're moving pretty fast.
JACKIE
He's cute...
ANGLE ON ED & TINA
running towards a dune and over it.
ANGLE ON MASSIVE SHAPE
in f.g., covered with birds. Ed and Tina appear over the
crest of a dune, and the frame explodes in a flurry of
seagulls, suddenly disturbed. The whir and drumbeat of wings,
and the shrieking of the gulls is a jarring shock.
CLOSEUP - TINA
reacting.
TINA
Yech!
HER POINT OF VIEW
The huge hulk of a beached, decomposing dead whale, a few
birds still pecking at scraps of blubber and entrails. Big
festering red holes mark its sides.
DISSOLVE TO:
LONG SHOT - SAND AND WHALE
From the top of the lighthouse, we can see a group of
interested spectators, clustered around the whale like ants
at a picnic. A few more boats are beached and riding at anchor
just off the shore, including the Amity police boat.
Three Ants are walking towards the crowd, one of them
gesturing.
CUT TO:
ANGLE ON BRODY, HENDRICKS AND A WOMAN
She's Lureen Elkins, a marine biologist from the Oceanographic
Institute, and she's skeptical. Brody is the ant whose
antennae were waving in the long shot.
BRODY
As soon as I heard about it, I called
you. This thing is big!
His arms indicate big.
ELKINS
After we've looked, we'll talk.
HENDRICKS
This is it.
He moves forward to clear the crowd. Some kids are poking
the massive hulk with sticks. A tourist couple is snapping
away with a Polaroid SX-70. The whole mess stinks, too.
HENDRICKS
Move back, please... back off...
open it up a little...
The crowd edges back, giving way to Brody and Elkins.
BRODY
See? What'd I tell you?
ANGLE ON THE WHALE
Brody is holding a handkerchief to his nose as he approaches
the dead thing, indicating a huge open wound on the side.
BRODY
Look at that!
ELKINS
First things first.
She produces a tape measure and gives one end to Brody.
ELKINS
From the tip of the snout, please.
Elkins is measuring the length of the creature. She calls
off numbers to Hendricks, who is officiously writing it all
down, repeating numbers as he hears them.
ELKINS
Length, 22 feet, 8 inches.
BRODY
Come on, let's check the bite radius.
ELKINS
(cold)
The what?
BRODY
Bite radius. You know, the size of
the mouth?
ELKINS
The whale's mouth?
BRODY
The Shark's mouth.
ELKINS
What shark?
Brody pitches his voice low, so that the crowd won't listen.
BRODY
The shark that did this. It was a
shark, wasn't it?
ELKINS
We don't know that, do we?
BRODY
But that's what we're here to find
out, right?
ELKINS
You don't tell me my job, and I won't
tell you about yours, okay?
HENDRICKS
I can't hear you if you're going to
whisper.
MIKE
Can we go now?
He turns to join the kids as they slip through the crowd to
return to their blanket, ad-libbing good-byes.
BRODY
(to Mike)
You stay here a minute.
MIKE
Oh, c'mon.
BRODY
You heard me.
JACKIE
We'll be over by the lighthouse.
MIKE
I'll be right there. Wait up.
They hang around, waiting for him. Elkins has reclaimed
Brody's attention.
ELKINS
Could be a shark. But maybe not.
BRODY
Look, I know a little bit about
sharks.
ELKINS
Do you?
BRODY
I know that this was probably a Great
White Shark. Car-cadon... Caradan...
He fumbles for the correct Latin.
ELKINS
(helping out)
Carcharadon Carcharias.
BRODY
That's it.
ELKINS
Okay, so that's it.
BRODY
Is there one in these waters?
ELKINS
What makes you think there might be?
BRODY
Because this big fish has been bitten
by some other big fish...
ELKINS
This is a mammal, not a fish.
BRODY
Jesus, don't quibble with me. I want
to know if a Great White Shark did
this.
ELKINS
Probably.
BRODY
That's it? Probably? Look, sharks
are attracted by blood, and thrashing
around...
ELKINS
And sound.
BRODY
(this is a new one)
Sound?
ELKINS
Sound. Like sonar, or radar. They
home in on irregular sounds, unusual
sounds, any rhythmic low-frequency
vibration.
BRODY
So there's one around here.
ELKINS
Not necessarily. These wounds could've
been inflicted 30 miles out to sea,
or more. None of them are immediately
fatal. Currents could've carried the
body 10 miles further.
HENDRICKS
(chiming in)
We got a helluva tide this month.
BRODY
Could you just keep that crowd back,
please?
MIKE
(fidgeting)
Pop...
BRODY
You stay right here. You're going in
with me.
ANGLE ON BRODY AND MIKE
As Elkins examines the whale, calling her observations to
Hendricks.
MIKE
We came out in my boat.
BRODY
Andy can sail in it.
MIKE
I got a date!
BRODY
She'll understand.
MIKE
She won't.
ELKINS
Lower jaw displaced and
lacerated by predator
attempt to seize the tongue.
Additional large tissue
loss in the dorsal and sub-
dorsal areas, as well as
the caudal. Oriamal bite
radius 37 inches, allowing
for salt-water erosion and
subsequent small predator
and scavenger tissue
attacks...
The Kids have moved a little closer to hear what's going on
between father and son.
BRODY
I don't want to discuss it.
Elkins crosses to Brody.
ELKINS
It's either a Great White, or another
killer whale.
BRODY
Can't you tell?
ELKINS
Not when it's like this. This animal
has been ashore for 10, 12 hours,
and drifting for a day, at least.
Every little nibbler in the sea's
taken a bite.
BRODY
Look -- can Great White Sharks
communicate? Send out signals, or
something? You know, take revenge,
sense an enemy...
ELKINS
Don't be ridiculous -- Sharks don't
take things personally.
MIKE
Dad, please...
Brody turns on him. This at least, is something he can do
something about.
BRODY
No more sailing. You come back with
me, and that's it.
MIKE
Why me?
BRODY
Because I say so.
ANDY
I'll tie up at the town dock, don't
worry, man.
JACKIE
See you later, Mikey...
ED AND TINA
Later, bye...
(ad lib)
DISSOLVE TO:
INT. AMITY TOWN HALL - DAY
Vaughn and Brody enter, walking through the spare, empty
town meeting hall, towards the conference table. They are
alone.
VAUGHN
I'm showing summer rentals. We got a
helluva season going.
BRODY
We have got to talk, and we have got
to talk alone.
VAUGHN
We're alone.
BRODY
Larry, I don't know how to say this,
but I think we got a shark problem.
A real one.
Vaughn stares at him, then unlocks the door to his private
office -- "Mayor" -- and leads Brody in.
INT. VAUGHN'S OFFICE - DAY
Small, expensively furnished in antiques, with a few symbols
of Amity boosterism cluttering one wall: a photo of the beach,
featuring a shark tower; an architect's rendering of the new
Holiday Inn, some charts and graphs showing upward progress,
a few stills of businessmen's luncheons, plaques, awards,
etc.
VAUGHN
Are you serious?
BRODY
Of course. Look -- I've got some
missing persons, fatalities, evidence
of a large predator...
VAUGHN
No one has seen a shark -- no fin,
no bites, nothing. Be realistic.
BRODY
I got a feeling. I have to act on it --
you can understand that, can't you?
VAUGHN
Of course I can, but can't it wait?
These things cost money, and this
town doesn't have much money.
BRODY
We have to do something.
VAUGHN
We have done something -- hell, we
damn near went broke putting up a
shark watch tower on the beach --
it's the only one in 2000 miles,
y'know.
BRODY
I know, I know...
VAUGHN
And I stood by while you told the
people from Ramada and Marriott that
if they put up a hotel they'd need
$800,000 worth of steel net around
their beaches! In New England? We
all lost on that one.
BRODY
It's still a good idea.
VAUGHN
Martin, when we build up our tax
base a little, you can have everything
you want; right now, the town's broke.
BRODY
Please, Larry -- there's good reason.
Those water skiers...
VAUGHN
(interrupting)
A tragedy. But that was a boating
accident; no bites, no sharks, nothing
but a boating accident.
BRODY
Two of them are still missing!
VAUGHN
There's always deaths in these waters
that never turn up. Are they all
shark victims?
BRODY
Maybe they are!
Brody's overstated his case, and he realizes it.
VAUGHN
Bullshit.
BRODY
(shouting)
Bullshit? I'll give you bullshit --
there's a dead whale out there with
bites all over it!
VAUGHN
(shouting back)
What am I, an ass? When you called
me, I called Elkins, and her bosses.
Nothing she saw is proof of anything.
BRODY
Someone has to do something.
VAUGHN
(back in control)
Don't push it this time. If you do,
it won't turn out the way you want,
I guarantee you that.
The two men study each other for a long moment. Then,
VAUGHN
I've got to get back to work.
He holds the door for Brody, who walks out as Vaughn lags
behind, locking up his sanctum.
CUT TO:
EXT. AMITY BEACH ROAD - DAY (DUSK)
Brody is alone in the jeep, headed for the safety of home
and family. He drives past the town's billboard: it's covered
with an architect's rendering of the Amity Holiday Inn. The
sign reads: "WHEN IN AMITY, ENJOY THE HOLIDAY INN."
Plastered across it is an added streamer: "NOW OPEN." Barely
visible underneath are older notices: "UNDER CONSTRUCTION,"
and "OPENING IN JUNE."
As Brody passes the sign, he impulsively swings off the main
road and heads down towards the beach.
EXT. BEACH - DUSK
Brody is on restless patrol, checking the water's edge as he
continues on home. As he drives along, he sees: a clambake;
some teen-agers in a group, necking and dancing; and a few
solitary surfcasters and fishermen.
The beach is deserted, the sun is setting, and Brody and his
jeep have the sand to themselves. It's then that he sees
something:
BRODY'S POINT OF VIEW
A big bow section of a ruined, burnt boat is bobbing in the
surf just off the beach ahead. It's a piece of the
waterskiers' boat; Brody heads towards it.
ANGLE ON THE SURF
As Brody slows his jeep just short of the water, and gets
out to look at the flotsam. His shoes get wet. He backs up
onto dry sand, then tries to edge closer to examine this
object.
It bobs up and down in the surf; Brody makes "Get in here"
motions. The junk resists.
BRODY
Come on, give a guy a break.
No response. He takes off his shoes and socks, and rolls up
his trouser legs. A silly sight. He wades into the water
after it.
BRODY
Come on. Here boy. Come to Poppa...
It eludes him, and he flounders after it. A big wave breaks
across his crotch.
BRODY
Hoo! Cold!
He's almost there, it's just beyond his reach, he's got it,
he's lost it, he has it again, it's slippery...
BRODY
(ad lib)
Come here. Come on, Sweetheart. You
bastard. A little closer... Here
y'go...
Then, he's got it ---
BRODY
(exultant)
Gotcha!
CLOSE ON BRODY IN THE WATER
As he grabs the ruined wood, and pulls it towards him.
Suddenly, the mass of wreckage breaks apart, and something
lunges out of the mess and into Brody.
SHOCK CUT CLOSEUP - "THE THING"
Brody is suddenly pinned under a soggy charred horror; the
gory remains of Diane, burnt beyond recognition,: flesh peeled
away, discolored, charred, ruined by days in salt water. He
screams, and scrabbles in the wet sand, trying to get out of
the dreadful clutches of the half-human thing he's dredged
from the water.
ANGLE ON BRODY
Extricating himself, puking, retching, splashing water on
his face, washing his hands frantically, just behind him,
The Thing lying on the sand, a gruesome joke played by the
sea.
DISSOLVE TO:
INT. BRODY'S OFFICE - NIGHT - EXTREME CLOSEUP - CYANIDE
BOTTLE
Macro close on a pharmaceutical bottle of Sodium Cyanide,
from which a syringe is withdrawing a healthy dose. Follow
the syringe and reveal Brody, working at his desk in the
deserted office. He is injecting the deadly chemical into
some jacketed .38 hollow-point ammunition; a dozen cartridges
are lined up in neat array, he is filling the last of them,
sealing the points with wax from a burning red candle. The
radio scanner is monitoring the local police band: routine
reports faintly in the b.g. -- a slow night in pre-season
Amity.
ANGLE ON BRODY
As a sound at the door makes him look up. He hides the odd
gear as Hendricks enters, starched and crisp in his uniform.
HENDRICKS
Chief?
BRODY
In here.
HENDRICKS
I missed you at the funeral home.
Santos said you were here.
BRODY
You didn't miss much. Christ, what a
mess.
HENDRICKS
Positive I.D.?
BRODY
The woman passenger on the boat that
blew up.
HENDRICKS
Oh.
There's an awkward pause. Brody sees the box with the divers'
stuff sitting where it was left earlier.
BRODY
What about that camera?
HENDRICKS
What camera?
BRODY
That one -- from the wreck. You
brought it up, did you look inside
it?
Hendricks' guilty look confirms he didn't.
BRODY
Well, what the hell -- might be
something worth seeing. Take it
somewhere and see if there's film in
it...
HENDRICKS
(catching on)
If there is, develop it!
BRODY
You got it.
The Deputy rummages in the locker, happy to be on the trail.
HENDRICKS
I know just where to go.
BRODY
Not the drugstore!
HENDRICKS
Of course not, They're closed. Phil
Fogarty's place. He'll do it for me.
BRODY
The drugstore's closed? What the
hell time is it?
HENDRICKS
Nine-thirty, ten maybe.
BRODY
Shit -- I'm late for dinner... Close
up, okay?
And he runs for the door, the speed-loaders with the Cyanide
bullets safely in his pocket.
BRODY
(at the door)
Oh yeah -- I'm expecting a long
distance call, very important. Give
them my home phone.
HENDRICKS
Right.
Brody pats his pockets to make sure the speed-loaders are
safe inside, then exits. As Hendricks watches him go,
CUT TO:
EXT. BRODY HOUSE - NIGHT
Brody's jeep pulls up, and he gets out, beat. He is slouching
towards the door when he hears the phone ring inside. He
perks up, and starts to move faster.
CUT TO:
INT. BRODY HOUSE - NIGHT
Ellen is on the phone in the den as Brody enters the house.
The Kids are on the floor in front of the TV, playing an
electronic video game that pings and beeps softly under the
following.
ELLEN
(into the phone)
Thank you. I'll tell him.
BRODY
For me?
ELLEN
(hanging up)
Sort of -- Matthew Hooper is aboard
the research vessel Aurora, presently
in the Antarctic Ocean, and won't be
in radio range until half-past next
spring.
BRODY
Damn.
He starts upstairs, casually concealing the towel-wrapped
package of gun and ammunition.
MIKE
Is Hooper coming to dinner?
BRODY
Not till next year.
He goes upstairs, Ellen waits a few beats, then follows him.
CUT TO:
INT. BRODY HOUSE - UPSTAIRS - NIGHT
Brody comes up the stairs and goes into the bedroom, where
he carefully puts the gun in the bed table. Ellen finds him.
BRODY
Oh, hi -- How was dinner?
ELLEN
Oh, perfect -- a 75 per cent family
affair. Where were you?
BRODY
(getting up)
Santos' place.
They both know what that means -- the morgue. Brody goes
into the bathroom and starts scrubbing his hands compulsively.
INT. BRODY HOUSE - BATHROOM AND HALLWAY - NIGHT
Ellen follows Brody, watches as he washes under too-hot water.
BRODY
Oww!
ELLEN
Careful. What's wrong?
BRODY
Nothing.
ELLEN
Nothing, huh?
BRODY
That's what I said. Is there any of
that hand cleaner stuff?
ELLEN
Use the little brush there. Why were
you at Santos'?
BRODY
Found one of the missing victims
from that boat deal.
ELLEN
Oh. Want to talk about it?
BRODY
No.
ELLEN
Terrific.
Mike comes up the stairs, and is starting into his room when
Brody spots him; Sean is just behind him.
BRODY
Michael.
MIKE
Yeah?
BRODY
You want to come here a minute?
Mike shrugs and crosses to his father; Sean whizzes past on
into his room.
SEAN
Hi Dad.
BRODY
Hiya yourself.
MIKE
What is it?
He expects something: this is a formal audience with the
Head of The House.
BRODY
I got something for you to do
tomorrow.
MIKE
I kind of had plans...
BRODY
Sailing?
(Mike nods)
Forget it. You're beached. Grounded.
No more boats.
MIKE
Hey, come on...
BRODY
No backtalk! I spoke to Upton, at
the beach, and he's got a job for
you there. You can work until school
starts.
ELLEN
All summer?
BRODY
He wanted a job, he's got one. I
want to see that boat out of the
water by tomorrow night.
We see Sean's door opening as he peeps into the hall to see
what the fuss is about.
ANGLE ON SEAN'S DOOR
It opens a few inches, he looks out at the grownups and his
brother, decides he wants no part of this, and quietly closes
the door.
MIKE (O.S.)
Dad, please...
BRODY (O.S.)
Tomorrow night. Out of the water.
ANGLE ON THE HALLWAY
Mike silently storms into his room, not-so-silently slamming
the door as he exits. From inside the room, loud rock music
muffled behind the door -- an expression of teen-age
rebellion.
ELLEN
Not so loud!
The music lowers its volume. Brody turns to go into the
bedroom, to take his shoes off, to go to bed...
BRODY
I know what you're going to say.
ELLEN
Do you?
BRODY
(on the bed)
In the city, it happened all the
time -- some Kid o.d.'s on a rooftop,
top, a drunk gets cut in pieces under
the Brooklyn local, old people die
alone in shitty apartments and three
weeks later someone calls the cops
because of the smell and the flies.
Call the cops. What are we, immune?
ELLEN
It was bad, wasn't it.
BRODY
The goddamn smell is always the same.
(he shudders at the
recollection)
ELLEN
Are you going to be able to sleep?
BRODY
Yeah. I think so.
(he raises his voice)
Mike! Keep it down, for chrissake!
Ellen gets up, and quietly closes the door. The upstairs
hallway is empty, the doors closed. The Brody household
compartmented and closed for the night.
DISSOLVE TO:
EXT. AMITY BEACH - DAY
The familiar striped cabanas flank the white sands; there's
a crowd of midweek seasonal tourists and locals oblivious to
the tall steel tower that dominates the beach.
A classy van outfitted for passengers pulls into the parking
area, followed by Vaughn's Cadillac; the parking attendant
waves them into a preferential area, where they disembark:
Vaughn, Peterson, Ellen, and some more prospects, including
a woman named Bryant and her daughter, Renee.
PETERSON
This is the town beach; the
development naturally has its own
private access, but I wanted you to
see the concession area. Look at
that sand -- like sugar!
He scoops up a handful of the fine powder. Ellen directs the
attention of the photographers.
ELLEN
During the summer, the sun sets right
there...
(she points)
Over the water. Beautiful.
VAUGHN
(to Ellen)
I'll say hello for you.
Ellen nods, preoccupied. Vaughn strolls away, headed in the
direction of the cabanas. Mary Nichols, a local Selectwoman,
emerges from behind the counter of one of the concessions.
NICHOLS
Hello -- selling some more of the
good life?
ELLEN
A piece here, a piece there, it all
adds up.
NICHOLS
Your husband's been here all morning.
What's he doing?
ELLEN
(good-naturedly)
His job.
Michael Brody, dressed in township workman's coveralls, is
repainting some flaking woodwork. Sean is happily mixing
paint. Vaughn joins them.
VAUGHN
Your dad got you working?
MIKE
Yeah.
He continues his chore, without enthusiasm.
SEAN
I'm helping.
VAUGHN
You know where your dad is?
MIKE
Up there.
He points at the tower.
VAUGHN
Oh, for Christ's sake.
He crosses briskly to where Peterson is finishing.
PETERSON
And if you have any questions about
recreational possibilities, Ellen
Brody here will be happy to answer
them.
VAUGHN
Len, can I see you a minute?
Peterson excuses himself and joins the Mayor.
PETERSON
I think we got a couple of live ones.
VAUGHN
Brody's riding his tower.
PETERSON
(looking up)
Oh, shit.
BRODY IN THE TOWER
sweeping the water with binoculars, restless eyes trying to
scan everything, a grim watchman high over the heads of the
unseeing crowd.
ON THE WATER
Larry Vaughn, Jr. comes skimming in close to the surf. Bob
is handling the sheets, Larry is giving young Jackie sailing
lessons -- at the moment he's showing her how the tiller
works. He's on her like glue.
JACKIE
This is fun! Can we go faster?
LARRY
(to Bob)
Trim.
Bob does, Larry trims the main, and the hull lifts.
JACKIE
Yay!
She snuggles in Larry's arms. He waves to someone.
LARRY
That's my dad!
Jackie waves without seeing.
ON THE BEACH
Vaughn waves back, preoccupied. Near him, Mike Brody looks
up, his face grim, jealous, and now a little nuts. He splashes
paint onto the wood with angry abandon.
VAUGHN
(to Peterson)
Wave to my son.
PETERSON
(waving)
How the hell do we get him down from
there?
VAUGHN
Maybe nobody will notice. Let's get
them back in the bus.
Mrs. Bryant approaches them, tugging her daughter.
MRS. BRYANT
Renee wants to know what that man is
doing way up there?
PETERSON
He's, ah, watching. A lookout.
MRS. BRYANT
For what?
RENEE
(a precocious little
girl)
It's a shark tower. I saw one in
Florida. He's looking for sharks.
VAUGHN
It's an observation platform. That's
our Chief of Police. He's just
checking it.
PETERSON
Normally, it's used for, ah, bird
watching. Nature observation. Weather
measurements, that sort of thing.
(a little desperate)
Ellen, we're running late!
ELLEN
Okay. Folks, if we could get back
on, we'll show you the country club,
and stop for lunch...
At the mention of lunch, the prospects, all hungry, begin
flocking back into the van. Peterson herds them along.
PETERSON
The country club has an 18-hole
course, putting greens, and twelve
tennis courts...
CUT TO:
BRODY IN THE TOWER
still scanning. His body suddenly tenses. There's something
out there. He mashes his binoculars to his eyes, trying to
get a better look.
HIS POINT OF VIEW (PROCESS)
Through the binoculars, something big and black, moving under
the buoys and into the swimming area.
BRODY AGAIN
He can't believe it. But looking past him, we can see it
with the unaided eye: a seething dark mass, moving through
the water towards the unprotected bathers.
BRODY
(screaming)
Out of the water! Everyone out of
the water!
No one can hear him. A few little faces look up, unable to
catch what he's saying. He starts climbing down the ladder
shouting.
BRODY
Get out of the water! Tell everyone
to get out! Now! Out of the water!
ANGLE ON PETERSON, VAUGHN, AND NICHOLS
reacting.
VAUGHN
(recalling another
panic)
Oh, my God...
PETERSON
What the hell is he doing?
NICHOLS
Oh, no!
ELLEN, MIKE, AND SEAN
Looking up, startled at Brody's sudden panic.
THE WATER
The dark mass almost on top of the swimmers, who are starting
to look around. Most of them are oblivious to what's happening
on shore.
FOLLOW BRODY
as his feet hit the sand and he starts running for the water,
fumbling for his gun and the speed-loader with the cyanide
bullets. He is bumping into people, knocking little kids
over, stepping on blankets and umbrellas, a madman.
BRODY
Out of the water! Now! Everyone!
VAUGHN
Running too, half-stumbling, half-believing, remembering...
ELLEN
Moving after her husband, while Mike steadies Sean, holding
the impulsive kid back.
ELLEN
(seeing something)
Martin! No!
ANGLE ON BRODY AGAIN
The gun is out now, he's trying draw a bead on the shape in
the water; chest heaving, he tries to steady his shaky grip.
People see the gun and scream, throwing themselves flat on
the sand, running, some of them going into the water.
BRODY
No! Don't go in! Stay out! Stay clear!
He fires. Again. Bullets ricochet off the water, howling
towards the horizon. Real panic now. Four more shots.
Reloading, ejected rounds falling bright into the sand, Brody
on his knees, fumbling with bullets.
ANGLE ON A LIFEGUARD
standing on his platform, shocked, watching the Chief of
Police fumbling with his gun.
LIFEGUARD
It's bluefish! It's a school of
bluefish! Chief! It's bluefish!
ANGLE ON THE WATER
It is bluefish -- a tight mass of them, churning up the water
in a dark, dense group. The swimmers look around, confused
by the shots and excitement.
A SWIMMER
What's going on?
ANOTHER SWIMMER
Fish! Anyone got a net?
3RD SWIMMER
Someone get me a rod and reel!
Laughter defuses the tension in the water; bathers move
around, some getting closer to see the fish, others leaving
the water to join friends and families on the sand.
ANGLE ON THE BEACH
where Brody is now standing, panting, coming down as a crowd
collects at a safe distance around him: Ellen emerges from a
group that includes Vaughn, Peterson, and Nichols.
BRODY
Sorry. I'm sorry. False alarm...
Curious crowd murmurs as they watch this lunacy. Brody
realizes he's fired his weapon, that spent shells litter the
sand at his feet.
BRODY
Okay, it's all over, go on, it's
over. No trouble...
Ellen joins him.
ELLEN
It's okay. It's over...
Brody drops to his knees, fumbling for the cyanide bullets
in his gun, trying to put things in order, scrabbling in the
sand for the empty shells.
The crowd is curious and embarrassed. Some turn away, others
drift back to their blankets, talking about what's just
happened, others stare rudely. Brody is coming apart.
BRODY
It's all right, everything's all
right...
Sean emerges from the crowd, and helps his daddy pick up the
bullets, Ellen moves to disperse the rudely curious.
ELLEN (O.S.)
Let's go, everyone... Mrs. Bryant,
Len, please...
CLOSE ON BRODY AND SEAN
He sees Sean, his eyes fill with tears, and he grabs the kid
in a fierce hug.
DISSOLVE TO:
INT. TOWN HALL - DAY
A hurriedly called meeting of the town's Selectmen is in
session: Vaughn, Peterson, and three others: Kaiser, an old
man still in his grocery clerk's apron; Sansom; and Nichols,
the woman on the beach.
VAUGHN
Brody's a good man.
KAISER
Nobody says he isn't.
PETERSON
You should've been out there. You
should've seen him waving that gun,
like a maniac. There were shots fired!
VAUGHN
He thought he had a good reason.
MS. NICHOLS
But that's not rational behavior!
PETERSON
That's what I'm saying!
VAUGHN
How many people were there?
MS. NICHOLS
Hundred! Literally hundreds. What
are they going to say about us?
PETERSON
(to Vaughn)
Larry, I'm a businessman, trying to
make a buck like anybody else.
VAUGHN
So? So?
PETERSON
So it can't be done like that. The
man's a menace, plain and simple.
VAUGHN
Look, what am I supposed to do? It's
done, it's over. We have to deal
with the consequences.
SANSOM
That's what we're here to do.
VAUGHN
All right. Let's go into my office,
where we can have a little privacy.
ANGLE FROM INSIDE VAUGHN'S OFFICE
as the selectmen troop into the cramped quarters. Vaughn
deliberately closes the door as they find seats around the
room.
VAUGHN
I believe we have a quorum, and
informally, I suggest we call this
meeting an executive session and
dispense with minutes...
CUT TO:
INT. BRODY'S OFFICE - DAY
Brody, alone, is sitting at his desk, morosely studying a
little gold statuette of a pistol marksman. What's done is
done, and Brody is trying to figure out how to live with it.
The phone rings, is answered in the other room. The buzzer
sounds. Brody picks up his end.
BRODY
Polly, no calls, please...
(she insists)
Okay, okay.
(he punches a button)
Hello... Phil? Fogarty? What
pictures... I'll be right down...
He slams down the phone and gets up to go, suddenly possessed
with a purpose.
CUT TO:
INT. DARKROOM - DAY
Amid the equipment, clutter and proofs, some shots of the
holidome opening, drying on wires. Phil Fogarty, the indignant
fat man and town photographer, is locking the door behind an
impatient Brody.
PHIL
I don't know what you did, but that
kid stopped. I haven't heard one
peep, not one 'breaker breaker' for
days. Believe me, it's a pleasure...
BRODY
You said something about a camera.
PHIL
Sure, sure -- Jeff Hendricks brought
in this camera, see, from underwater,
and I didn't know how to get it open,
but my brother-in-law, in Montauk,
he works at a hi-fi store, and they
sell cameras, so he...
BRODY
(interrupting)
Did you get any pictures?
PHIL
Well, yeah, I did, that's the funny
thing. You can't tell much from the
negatives, I was going to blow 'em
up. Here's a test I did...
He holds out an 8 x 10 proof, Brody snatches it from him.
INSERT - PHOTOGRAPH
Brody stares down at it. Sure enough, the ghostly outlines
of the Orca, underwater, a diver on the deck making a gesture
at the camera.
BRODY (O.S.)
Oh, Jesus. That boat...
ANGLE ON BRODY AND PHIL
PHIL
Not bad -- that's a real fast lens,
probably 1.4. Look at the diffusion,
though...
BRODY
What else you got?
PHIL
Let's see -- you got a minute?
BRODY
Come on, Phil, don't jerk me around.
PHIL
Okay, okay -- stand over there...
He gestures, Brody steps to one side of a table with some
big enamel pans for washing and developing prints. Phil
switches to a red light, and takes some printing paper,
putting it under the enlarger.
QUICK CUTS:
-- Enlarger light going on.
-- Timer ticking, the hand turning.
-- Quick negative images: water, boat, diver, hand, boat
again, tantalizing fragments of the opening sequence projected
on the enlarger's flat base.
-- Hypo and Developer sloshing in a pan under Phil's hands.
-- Brody staring down.
INSERT (PROCESS)
Quietly gaining contrast in a pan of developer, a print of
what at first looks like seaweed, then is unmistakably the
grinning jaws of the Great White.
SUBLIMINAL FLASH CUT - SHARK
A quick nightmare vision of Brody, alone in a sinking Orca,
trapped in a battered cabin interior; a Great White crashes
through the glass, its head huge as it lunges.
INSERT PHOTOGRAPH IN DEVELOPER (PROCESS)
The close-up detail of this otherwise blurred and unreadable
photo is unmistakably a detail from a very close view of the
snapping jaws of a Great White; if you hadn't seen it as a
memory, it would make no sense at all. For Brody, the meaning
is all too clear; for anyone who's never seen the monster
face-to-face, it's nothing.
BRODY (O.S.)
(shaken)
That one there. That one...
Phil's hands, holding plastic tongs, gently slosh the print
in the bath. The shark's features are indistinguishable from
the surrounding detail.
CUT TO:
EXT. TOWN HALL - NIGHT
Brody walks into view, and starts up the steps into the town
hall, already lit from within. He's carrying a large envelope.
INT. TOWN HALL - NIGHT
The Selectmen (Kaiser, Sansom, Nichols), Len Peterson, and
Vaughn are seated informally around the big table.
PETERSON
(looking up)
Speak of the devil.
Brody enters, carrying the envelope with the photo.
BRODY
Thank God you guys were all together.
I got something for you. Proof!
VAUGHN
Martin, this is kind of an official
meeting
BRODY
Perfect. Look at this ---
He fumbles with the envelope.
VAUGHN
Chief -- the Board of Selectmen has
a question only you can answer.
BRODY
(preoccupied)
What?
PETERSON
Is Jeff Hendricks qualified to fill
in as an interim Chief of Police in
your absence?
BRODY
Temporarily? Uh... sure... The
question's out of left field. Why
are they asking?
NICHOLS
So Jeff could handle things? He knows
the routine, he has the authority?
BRODY
Yeah. Why?
PETERSON
It came up during the meeting.
BRODY
Look -- I just got this from Phil
Fogarty. It was in the camera
belonging to the missing divers. It
proves I was right, all along.
He throws the picture down in front of them. They bend over
to study it, pass it around, look at it.
KAISER
Seaweed?
NICHOLS
It's underwater, isn't it? That's
why it's so dark.
SANSOM
I don't know -- what is it?
BRODY
It's a shark! A Great White! Jesus,
it's right there!
He snatches up the photo.
INSERT PHOTO
Just as before, an ambiguous pattern of light and dark; not
proof of anything without Brody's inner vision.
VAUGHN (O.S.)
It's nothing I can see.
ANGLE ON BRODY
waving the picture.
BRODY
What are you all, blind? It's a shark.
Look -- teeth, jaw, gills.
PETERSON
Is that what it is?
BRODY
You're damn right that's what it is.
NICHOLS
I'm sorry, I just don't see it.
Sansom and Kaiser agree, ad lib, "That's nothing..."
VAUGHN
Martin, it could be anything.
BRODY
(exploding)
What the hell does it take to make
sense to you numbskulls? Jesus, it's
right there in front of you. I know
what a goddamn shark looks like,
I've been through it, don't you
understand? I've seen this sonofabitch
before!
The Selectmen look at each other in the face of Brody's
agitation. Tempers are running high.
PETERSON
What have you seen before? This is
nothing. Seaweed. Mud. Something in
the lens.
BRODY
My ass!
VAUGHN
Be reasonable, please...
PETERSON
(to Vaughn)
Forget it, he won't listen.
BRODY
There is nothing to discuss.
PETERSON
(blowing up)
Will you listen to this man? Will
you just listen to him?
(to Brody)
You really caused a panic on a public
beach, you shoot up the place, God
knows who could've been injured --
what if somebody decides to sue us?
That could ruin us.
BRODY
Is that what it is? Dollars? Money?
I'll pay for it. Take it out of my
salary.
PETERSON
You don't make enough.
BRODY
Maybe I don't make as much money as
some bullshit rip-off artists around
here, but I don't work the same way.
PETERSON
What's that supposed to mean?
BRODY
It means I don't like all that grab-
ass and heavy breathing with my wife,
it means I know who's out to screw
me here, and it means that I know
something none of you know because
I've been there -- and I don't want
to go through that horror again.
Ever!
There's a long pause.
VAUGHN
Martin, could you wait here for a
few minutes while we make up our
minds about something?
BRODY
Go ahead, whatever it's worth.
The Selectmen file into Vaughn's office, leaving Brody alone
in the room. The last one in the door very carefully makes
sure it's tightly shut.
Brody sits alone at the table.
CUT TO:
INT. VAUGHN'S OFFICE - NIGHT
They are sitting there, deliberating.
PETERSON
I won't mention his personal attack
on me.
NICHOLS
I've never seen him like this.
PETERSON
And Hendricks is qualified, you heard
that from his own mouth.
KAISER
We made a motion and it was already
seconded.
VAUGHN
(official)
Very well then. It is moved and
seconded that Martin Brody be relieved
of his duties as Chief of Police,
his contract with the township be
terminated, and that Jeff Hendricks
be appointed Acting Chief in the
interim. Those in favor?
All the hands go up.
PETERSON
Anyone opposed, or is it unanimous?
Vaughn's hand goes up, the sole dissent. They stare at him.
VAUGHN
I'm sorry, but I respect his
convictions. The motion is carried.
He goes to the door, and opens it.
VAUGHN
Martin? Could you come in please?
CUT TO:
EXT. BRODY HOUSE - NIGHT
The police jeep pulls up and stops; although the engine's
shut down, Brody still sits quietly inside the car. Then his
hand appears at the window, and he drops an empty beer can
onto the lawn. Clink.
After a while, he drops another beer can, then another, until
the "clinks" tell us he's polished off a six-pack on the way
home. Not too steady on his feet, Brody climbs out of the
car and starts for the door to his house.
CUT TO:
INT. BRODY HOUSE - NIGHT
Ellen is working at her desk in the den. She is looking
towards the door, expectantly -- it's been an unusually long
pause between car arrival and husband arrival. Brody enters.
ELLEN
Hi. I closed a sale today, without
Len. That's $1200 commission, if the
papers go through.
BRODY
That's great.
ELLEN
Sean's asleep.
BRODY
That's great too. Gorgeous.
He takes a long look at her.
BRODY
You look about 22 years old sitting
there. Like you were doing homework...
He goes to join her, bumping into some furniture in the dimly
lit room. Ellen has a beer and sandwich half-finished on her
desk; Brody takes a healthy swallow from the beer.
ELLEN
(sensitive)
What's wrong?
BRODY
Ooohh, nothing. I just got fired,
that's all.
He tosses the photo sloppily on the desk.
ELLEN
What?
BRODY
What'd I say?
ELLEN
That you were fired.
BRODY
Then that's what I meant. Fired.
Canned. Out on my fanny. The Selectmen
just made Hendricks the new Chief of
Police. Just like that.
ELLEN
Because of today? The beach?
BRODY
(expansively)
No sweat. A blessing in disguise.
Back to the city, you can go to
Bloomingdale's without waiting six
hours for the ferryboat... we're
surrounded by water here, you realize
that? Me, surrounded by water...
Ridiculous.
ELLEN
Stop that! We're not going any place.
You love it here. Tell me what the
hell happened!
BRODY
Showed them the photo, showed them
the goddamn Shark, big as life. They
didn't see it. Not like me. Not like
the poor son-of-a-bitch who snapped
this li'l picture... He's out there,
somewhere... I shot off my gun, shot
off my big mouth, so they fired me...
ELLEN
(studying the photo)
Honey, this is nothing... I don't
know what it is. What did they...
BRODY
(going on)
...Everybody wants the job. No one
wants the authority. Except Hendricks.
Fine. He can go out there in that
precious boat, and when he looks
whitey in his big mouth he can just
call me. Call me in New York... tell
him to kiss my ass...
ELLEN
(seeing his pain)
They have no right to treat you like
that. You've given them everything.
For four years, you've protected
this town, the people on this
island...
BRODY
Fired me!
(at Ellen)
I'm not a hysterical man. I'm
responsible. I know what I saw...
ELLEN
I know you did...
BRODY
I try. Goddamnit, I tried... Now,
I'm tired... I can't keep fighting
it... I'm too tired... I'm... I'm...
Brody's slipping under; the beers and the day have finally
overcome him. He slumps in Ellen's arms.
ELLEN
You're drunk is what you are...
She eases him onto the couch, tucking a comforter over his
inert shape.
ELLEN
Take it easy... Easy...
ANGLE ON THE STAIRWELL
Sean comes down the stairs, sleepy, in his pajamas.
SEAN
Is dad home? I heard something...
He comes into the darkened den.
ELLEN AND SEAN
ELLEN
Shhhh. Go back upstairs. Daddy's
sleeping.
Sean finds the photo, and stares at it idly.
SEAN
What's this?
ELLEN
Nothing, sweetheart. Seaweed.
She takes him by his sleepy hand and leads him out of the
room, leaving Brody tucked in on the couch, dead to the world.
CUT TO:
INT. NEWSSTORE - NIGHT
This is the Amity teen-ager's hangout -- a newsstand and
pinball arcade with a minimal refreshment counter where soft
drinks and submarine sandwiches are dispensed. A jukebox is
blaring some n.d. rock music. Present are Donnie, Doug, Timmy,
Bob, Larry Vaughn Jr., Brooke, Marge, Denise, Jane, Andy,
and Mike. The boys are passing around hot-rod van and custom
boat magazines; the girls are looking at Silver Screen, Tiger
Beat, People, and Time. Andy and Mike are at the counter,
splitting a sandwich.
DOUG
(holding a book)
That's what I want -- a gaff rig.
TIMMY
Gaff rigged? Why not a staysail
schooner? Go anywhere. Look at this --
the Mayan, an Alden schooner.
BOB
Hey, Mike -- I saw your dad over at
the town hall.
MIKE
I know.
DOUG
(innocently)
Did he really freak out at the beach?
MIKE
I don't know.
ANDY
Hey, it's all bullshit. Anyone want
to play pong for money?
No one does. There's a bustle at the door, and some couples
enter from the movies: Patrick and Lucy, Ed and Tina, Polo
and Jackie. There are a lot of ad-lib greetings;
LARRY
How was the show?
ED
Yech.
TINA
It was okay.
PATRICK
I'd rather go the lighthouse.
LUCY
Who wouldn't.
POLO
Anyone want to go the lighthouse?
BROOKE
Now? At night?
POLO
Nah. Tomorrow. Early, spend the day.
My folks left two cases of beer in
the garage.
PATRICK
Is it still there?
POLO
Nope. Got it in my boat.
LUCY
All-right.
JACKIE
Let's go for it.
There's a general ad-lib agreement to organize a day's sailing
picnic.
TINA
Mike, you going?
MIKE
Why shouldn't I?
LARRY
I thought you might still be painting
the restrooms at the beach.
Laughter from the gang.
BROOKE
Anyone want a coke or anything?
They break up into pairs and trios, some going for the soda
fountain, others hanging out by the magazines.
ANGLE ON JACKIE AND MIKE
JACKIE
I'd like to go out to the lighthouse
with you.
MIKE
I'm not sure I can.
JACKIE
It'll be fun, come on!
MIKE
Maybe you and Brooke could come over
to the town beach...
JACKIE
No way. Everybody's going sailing.
If you don't want to take me, just
say so.
MIKE
That's not it. My dad told me not to
go.
JACKIE
You do everything your parents tell
you?
MIKE
No.
JACKIE
Good. I'll be on the dock at eight.
(to the gang)
Eight o'clock, everybody!
They ad lib agreement.
JACKIE
(aside to Mike)
I really want to to be there.
(to the crowd)
Who's bringing the wine? And who's
got a quarter for the box?
Brooke takes Mike aside, as Jackie goes to the jukebox.
Larry is right there with a quarter, standing next to her as
they select a tune.
BROOKE
She just likes to tease. I think she
really likes you.
MIKE
Great.
Some rock music starts, and we:
CUT TO:
INT. BRODY BEDROOM - DAY
Ellen is asleep under the covers, Brody, still in his clothes
from the night before, is sprawled on top; obviously he's
stumbled upstairs sometime during the night. There's a noise
down the hall, from Mike's room. Brody stirs, but doesn't
wake up.
CUT TO:
INT. MIKE'S ROOM - DAY
Mike is holding a lamp that's almost fallen -- the noise we
just heard. He's almost dressed, but not quite satisfied
with his image in the mirror. He takes off his clean shirt,
and checks a more comfortable, worn shirt. A brief sniff to
make sure it's okay for another day, and he puts it on; he
tiptoes to the hall, where a noise stops him in his tracks.
INT. BRODY HALLWAY - DAY
Mike is frozen in his part-opened bedroom door. Sean's door
opens, and little Sean, also fully dressed, comes sneaking
out.
SEAN
(whispering)
You're going out.
MIKE
Yeah.
SEAN
You're going sailing.
MIKE
Maybe.
SEAN
Take me.
MIKE
No.
SEAN
(louder)
I want to go with you!
MIKE
Quiet! Shhh!
SEAN
(even louder)
Michael...
MIKE
Okay, okay. Close your door.
Sean does, and happily tiptoes with exaggerated stealth to
Mike; the two of them start downstairs.
CUT TO:
EXT. BRODY HOUSE
Michael and Sean are walking away towards the road into town.
CUT TO:
INT. BRODY UPSTAIRS HALLWAY - DAY
Brody emerges from the bathroom, dressed in sweatshirt, and
cutoffs: no uniform today. He starts downstairs, stopping
only to look into Mike's room. It's empty.
BRODY
Good morning, America...
A grin crosses his face -- "My son, the Don Juan..." He goes
downstairs.
CUT TO:
INT. BRODY KITCHEN - DAY
Brody enters from upstairs. He heats coffee. Ellen enters
dressed for work. He pours two cups.
ELLEN
What're you going to do today?
BRODY
Turn in the car. Clean my desk,
explain things to our sons, then
maybe get shit-faced and punch your
boss.
ELLEN
I'll give notice.
BRODY
Don't rush into it -- we may need
the income.
She pours the coffee, they drink it for a moment.
BRODY
Mike left early. Couldn't wait to
make out. Must be a morning man.
Ellen and Brody sip their coffee quietly for a few moments.
Mrs. Silvera arrives, carrying groceries.
MRS. SILVERA
Morning. Anything special today?
ELLEN
Sean's not up yet. You
know what he likes,
just some Fruit Loops
and milk. No candy.
BRODY
The sink upstairs is busted.
Try some Drano, or a
plunger, maybe. Or call
your brother, the plumber,
what's his name...
MRS. SILVERA
Frankie. He's my cousin.
BRODY
Frankie. Okay. Ask him if he needs
an apprentice.
Brody and Ellen are at the door.
MRS. SILVERA
Have a nice day.
They leave.
CUT TO:
EXT. DOCKSIDE - DAY
The Kids are into their boats, fitting out for a day of
recreational offshore sailing. Mike and Andy are readying
his Tornado, while Sean gets in the way. In the b.g.,
Hendricks can be seen puttering around on the Amity police
boat.
ANDY
If you're beached, why are we doing
this? For practice?
MIKE
Yeah.
ANDY
Then why are we futzing around the
dock? We can make a few bucks working
at the beach.
Sean knocks something over, Mike snaps at him.
MIKE
Look -- if you're going to get in
the way, you can just go home.
SEAN
I'm not in the way. Andy, am I in
the way?
ANDY
You're always in the way.
Marge joins them, scooping Sean up.
MARGE
This guy giving you any trouble?
SEAN
Put me down!
ANDY
Put him down in the water.
MARGE
(to Sean)
You want to go out in my boat?
SEAN
Yeah.
MIKE
Would you take him?
MARGE
Sure.
ANDY
You've just made someone very happy.
Marge and Sean go over to her Lightening. Brooke and Jackie
come down the dock, dressed for sailing.
BROOKE
Mike! Are you going out?
MIKE
Maybe.
JACKIE
I thought you were grounded.
MIKE
I can go out if I want to.
ANDY
You can?
JACKIE
You going to the lighthouse?
MIKE
Why not?
ANDY
I could give you a dozen good reasons.
MIKE
(to Andy)
Shut up.
ANDY
Okay, okay, don't say I didn't remind
you.
JACKIE
Is there room on your boat for all
of us?
Mike looks: Andy, Jackie, Brooke, himself... Timmy moves in,
sensing the chance of a lifetime.
ANDY
Well, we're pretty crowded, and I
don't know when we're leaving...
Timmy makes his move.
TIMMY
I've got room.
BROOKE
Great.
(to Andy)
That's okay -- I'll go with Timmy.
TIMMY
You will?
BROOKE
Sure.
And she walks towards his boat, looking back for him to
follow. He's dumbstruck by his sudden good fortune.
TIMMY
Fan-tas-tic!
He runs to join her, untying mooring lines like crazy; they're
together again at last for the first time. Andy is left
shuffling with Mike and Jackie.
JACKIE
I'm ready.
And she plops down in Mike's boat, ready to be taken.
Anywhere.
JACKIE
Come on, you guys.
ANDY
Well, I don't know...
Jackie flashes him one of her pouty little smiles. Why break
one heart when you can break two? Or more?
JACKIE
Please come with us?
Mike is glaring. The message is clear, if unspoken.
JACKIE
For me...?
ANDY
What the hell. For you...
Andy joins them. Mike casts off, while Andy helps, and Jackie
sits there, looking cute.
ANGLE ON LARRY AND BOB
watching what's going on.
BOB
I thought you said she was going
with us?
LARRY
Let's just go sailing, okay?
BOB
(casting off)
Want to talk about it?
LARRY
Want to swim home?
Bob gets the message and shuts up. The Sizzler fills its
sails, and points out of the harbor.
WIDE ON THE HARBOR
Lots of day-sailing Kids, a few bigger, adult boats, some
working fishermen and sport fishers; a typical recreational
boating mix. The Kids are finding the same general direction,
pointing out of the harbor.
QUICK CUTS
-- Sails being trimmed.
-- Brooke and Timmy, staring into each other's eyes as he
sets a course straight for the lighthouse.
-- Larry, lifting a hull, almost losing Bob.
EXT. HARBOR MOUTH - DAY
The Kids' boats, in a loose bunch, slipping out to sea.
REVERSE - LOOKING OUT TO SEA
The dive class boat, isolated near the channel, a group of
Kids in wet suits and tanks assembled with three adult
instructors: Tom Andrews, Crosby, and Sparky.
EXT. DIVING BOAT - DAY
Andrews and his assistant instructor, Sparky, are addressing
the class, when Mike and Andy's "Green Machine" sails by,
close.
ANDREWS
Hey! Nicholas! You're supposed to be
in class!
ANDY
Today I'm staying topside. You dive
for me!
ANDREWS
I'm going for lobster.
JACKIE
Great! Find one for me.
ANDY
With butter, if they got any...
Andrews dismisses them with a good-natured wave.
ANDREWS
So long, turkies.
He turns to his class.
ANDREWS
Sparky will take you down today. If
everyone's got a buddy, we'll drop.
The class dutifully lines up and starts going in, while in
the b.g. the Kids sailboats head out to sea. Andrews' two
partners, Crosby and Sparky, get ready to follow the class
over.
CROSBY
(to Andrews)
Let's get some dinner.
He goes over, Andrews following. Sparky is with the class,
signaling "Down;" they submerge like clumsy seals.
CUT TO:
UNDERWATER
The class, paired up, is drifting down; Sparky offering
encouragement as they descend. Andrews and Crosby are already
disappearing, swimming away with strong kicks.
FOLLOWING ANDREWS AND CROSBY
as they go over the edge of a shelf and drop into darker,
deeper waters. Crosby checks his depth, his watch, looks
around...
HIS POINT OF VIEW
far above him, the class, going about their business.
Below him, murk, depth, and suddenly, a big lunker bass.
Andrews sees it, too.
ANGLE - ON ANDREWS
Assuming Crosby is following, he takes off, following the
big lunker. Crosby, hung up in some minor equipment problem,
misses seeing him go. The two men are separated. Follow
Andrews as he twists and turns after the bass, going deeper,
losing him in the rocks, suddenly rounding a boulder, and
meeting, almost face-to-face, horror:
BELOW HIM THE SHARK
The Great White Shark, taking the striper in a single gulp,
it's looking up at Andrews with one glassy doll's eye; it
turns to face him directly, and we see the scar; ugly, red
and black, charred flesh from jaw back on the right side,
eyes and teeth gleaming like raw bone in the massive, uncaring
face.
Andrews' mouth clamps violently on his mouthpiece, then goes
wide as he screams in fear into the water. Finning backwards,
he ditches his weights, gulps for air, and yanks the cord on
his safety vest. It balloons out, and pulls him up, surging
towards the surface. The mouthpiece, useless, falls away
from his lips.
Eyes closed, hose dangling, Andrews hurtles upward, holding
his breath in a final, fatal panic, passing a startled Crosby.
THE DIVERS
look over at the rocketing ascent. What's wrong? Sparky
signals "up," and they begin to carefully follow him towards
the surface. Crosby's already surfacing.
CUT TO:
DECK OF THE DIVING BOAT - DAY
Andrews is on his side, bloody froth on his lips. One of the
class is clinging to his legs, trying to arrest his
convulsions. Sparky is holding his shoulders, trying to
administer mouth-to-mouth.
SPARKY
Get us in! For Christ's sake, get us
in!
In his arms, Andrews writhes, pain knotting his limbs.
Behind them, in the water, the fin surfaces, and casually
turns towards... the ocean. The Shark is headed for the sea.
And for the now distant Kids in their sailboats, dotting the
horizon in their familiar bright colors.
CUT TO:
EXT. OCEAN - ED AND TINA'S SANDPIPER - DAY
They are alone. In the middle distance, the rest of the Kids'
sails can be seen, headed for the lighthouse in the distance.
The Sandpiper's sails are luffing, they're making no headway.
TINA
You want to tack, or just leave her
pointed up like this?
ED
(snuggling close)
Just like this.
TINA
What about sailing?
ED
The tide's running. It'll take us to
the light.
TINA
It'll take us to Budapest if you're
not careful.
Ed is lashing the rudder as they continue to drift with the
current.
ED
First things first.
He fumbles in a cooler chest, produces a bottle of wine.
TINA
What about the others?
ED
They'll be there when we get there.
Might even have a fire started.
TINA
What're we going to do in the mean
time?
ED
I dunno. We'll think of something.
He pours the wine into the two paper cups.
ED
But first, a little juice...
TINA
And second?
ED
(kissing her)
Mmmmmm.
TINA
(resisting)
Wait a minute. Promise me something.
ED
Anything. Anything.
TINA
That you'll put down a blanket. I've
got black and blue marks all over my
butt, and my Mom's getting uptight
about them.
ED
You got it.
And he fumbles for a blanket in a locker, thumping and banging
gear around as he rummages for it. Tina sips wine contentedly,
satisfied to wait.
UNDERWATER
The Sandpiper's hull, alone above us, as the Shark rises
with dreadful certainty, attracted by the erratic sounds of
Ed's hasty search.
ANGLE ON TINA - WATCHING THE OCEAN
The terrible fin breaks the surface, about 20 yards out,
then dips and disappears. Then, impossibly fast, the entire
Sandpiper is lifted from underneath by a powerful surge, as
the Shark lunges up against it from below, an unseen horror.
Ed is knocked over the side, into the water.
ANGLE ON ED
as he breaks the surface, shaking the hair out of his eyes,
trying to orient himself, finding the boat. He starts to
swim for it, Tina extending an arm to help him climb aboard.
ANGLE OVER THE GUNWALE, TOWARDS ED
He has barely taken two strokes when a powerful force takes
him from below the surface, rushing him towards us through
the water. Tina screams. Before Ed can react to the pain, he
is slammed face first into the boat. His jaw breaks, blood
smears his nose and lip.
His hands grab the wooden-cap rail with a death-grip.
REVERSE
Tina is staring down at the water, terror-stricken; Ed's
arms and head are f.g., as he locks onto the boat with
desperate hands.
INSERT
Ed's hands on the rail, knuckles white, an iron grip. With
awful finality, the force pulls down, and the wood shatters
and splits away as Ed's hands are pulled down and under by
the awful force.
TINA
her mouth working silently, unable to scream, staring down
at the blood and froth on the water, swirling in a grim eddy
under her, the Sandpiper rocking gently in the diminishing
swell.
EXT. OCEAN - DAY - ESTABLISHING SHOT
On the way to the lighthouse, but away from the harbor, the
Kids are sailing in fairly close order: The sloops (Polo,
Timmy, Marge) heeled well over in the stiff breeze, the faster
cats (Mike, Larry, Donny, etc.) skimming around, tacking
more often, faster and more maneuverable.
CLOSE ON PATRICK AND LUCY
LUCY
Faster! Faster!
PATRICK
Coming about...
She ducks under the boom, handling the jib sheets with easy
familiarity. They come about and scoot off on a new tack.
CLOSE ON POLO
Reading the wind, trimming sail expertly, competent and alone.
POLO
(to a near-by boat)
Great day! I think the wind's going
to change...
CLOSE ON TIMMY AND BROOKE
He comes about, she slides into him, he holds her to steady
her, she snuggles into his arms. True love, at last... He's
thrilled.
CLOSE ON DOUG
In his inflatable, poking slowly along. Marge passes him,
Sean hooting with glee.
MARGE
Coming up.
SEAN
Slowpoke! Slowpoke! Marge is faster!
DOUG
I'm getting new sails, then watch
out. Just a question of modifying
the rigging!
ANGLE ON MIKE'S "GREEN MACHINE"
Jackie, Mike and Andy, clipping along, Larry Vaughn and Bob
in the Sizzler nearby. Mike lifts the hull, Jackie squeals
in delight.
JACKIE
Wheee! Faster!
ANDY
How fast is enough?
JACKIE
I want to go faster!
MIKE
Hang on...
He trims his sheets, the cat heels more, one hull flying,
Andy and Jackie clinging to the trampoline.
ANGLE ON THE SIZZLER
Larry is carefully adjusting his tiller, Bob senses what
he's doing.
BOB
You coming up on him?
LARRY
You bet. Hang on...
They gybe sharply, running up behind the green cat.
LARRY
Coming up! Give way!
ANDY
Like hell! We're on the starboard
tack!
THE SIZZLER AND THE "GREEN MACHINE"
Running close to each other; very tight two-by-two.
JACKIE
Don't let him pass. Faster!
Mike and Larry silently fight for clean air, racing. Water
splashes over them.
JACKIE
My hair's getting wet!
ANDY
So's mine.
CLOSE ON MIKE'S BOAT
He veers onto a less dramatic tack, sparing Jackie's hair.
Larry and Bob speed by, yelling.
JACKIE
When do we get to the lighthouse?
ANDY
Soon, dark eyes, soon.
MIKE
The tide's turning.
Andy reveals a knowledgeable side to his character.
ANDY
We're going to be fighting the
current.
(he looks up)
Wind's backing around a few points,
too.
Jackie snuggles against Mike.
JACKIE
I can't wait to get there.
ANDY
But of course.
He goes forward to trim the jib, leaving the lovebirds
snuggling astern. They pull away from us, and we:
CUT TO:
EXT. AMITY WATERFRONT STREET - DAY
Ellen and Brody are in the jeep; he's driving her to work.
There's a crowd at dockside, and the town ambulance's now
familiar blinking red light. Brody, out of force of habit,
wheels the jeep towards the action, nudging through the crowd,
which gives way to the official blue-and-white vehicle.
ELLEN
Hey -- it's not your job any more.
I'm going to be late for work.
BRODY
Just one minute...
He gets out, and pushes through the crowd, Ellen following.
DOCKSIDE
The dive boat is moored at a clumsy angle next to the Police
Boat, where Hendricks has been pulling routine maintenance.
The Police launch is cluttered with tools and spare parts;
some non-essential piece of gear is stripped and laid out on
the deck. Hendricks is on the dive boat, kneeling next to
Andrews.
ABOARD THE DIVE BOAT
Andrews is shaking, bloody froth on his lips and chest. The
shaken divers are huddled together, an ambulance attendant
is wheeling a gurney into position. Crosby and Sparky are
stunned.
BRODY
What the hell happened?
SPARKY
Embolism. Air bubbles in his blood.
Came up too damn fast. Held his
goddamn breath!
He is near collapse himself.
HENDRICKS
Easy...
CROSBY
He panicked! Something scared him!
An Ambulance Attendant is putting a blanket around Sparky.
ATTENDANT
It's okay. We're taking care of him.
The other attendant holds something out to Brody. Brody
examines it; a scuba mouthpiece, bitten in two, useless.
BRODY
How'd this happen?
SPARKY
Bite reflex, like a spasm.
BRODY
When?
HENDRICKS
Right after, the Kids went out?
ELLEN
What Kids? Who went out?
HENDRICKS
All of them. Mike, Junior Vaughn,
Brookie Peters, Pat, Lucy -- all
that whole gang.
ELLEN
Mike? Our Mike?
HENDRICKS
Yep. Looked like they were headed to
the lighthouse.
BRODY
How long ago?
HENDRICKS
About an hour, maybe two.
(thinking)
Let's see -- I came on about eight...
Brody is gone, pushing through the crowd.
THE POLICE BOAT
Brody is casting off lines. Ellen is on the dock, watching
him.
ELLEN
What're you doing?
BRODY
Going out.
HENDRICKS
Uh, Chief -- look. You're not Chief
any more.
Brody keeps working, making ready for sea.
HENDRICKS
I can't let you take her out.
BRODY
You can't stop me.
Ellen is climbing aboard, taking off her heels.
HENDRICKS
Mrs. Brody, look -- if he can't go,
then you can't go. Neither of you
can go.
ELLEN
I'm going.
BRODY
Mike's out there.
HENDRICKS
But I signed for the boat. You're
not authorized any more.
Brody starts the engines with a roar, and slams it into
reverse. The boat starts out of the slip, then lunges to a
halt, shuddering on its still-fastened bow mooring line.
BRODY
Untie that rope.
HENDRICKS
Please. It's my job.
ELLEN
I'll do it.
And she moves purposefully towards the boat cleat.
HENDRICKS
Mrs. Brody, please...
Brody is shifting gears, the boat is crabbing sideways as he
puts the helm hard over. It bumps the dock, hard.
HENDRICKS
You're too close. Back off.
BRODY
Goddamnit, Hendricks, untie the rope
there.
Hendricks goes to the bow, jumps aboard and frees the bow
line. The boat slips into reverse, the water boiling as Brody
guns it away from the dock.
HENDRICKS
Let me. Please.
He takes the wheel, eases off on the rudder, and comes about,
pointing the launch out to sea.
ELLEN
Hurry, please.
HENDRICKS
What the hell, they can't fire both
of us -- someone's got to be in
charge, right? Which way are we going?
BRODY
Find the Kids. The lighthouse -- you
said something about the lighthouse.
Get us there.
WIDE ON THE HARBOR
The Amity Police Boat, Brody, Ellen and Hendricks aboard, is
headed under full power out to sea. Hendricks is pumping the
horn, warning boats out of the way, ignoring the rules of
the road; as small boats scatter out of the way, we can see
the ambulance, red light flashing, pushing out slowly through
the crowd at dockside.
CUT TO:
ABOARD THE AMITY POLICE BOAT - DAY
As they clear the harbor mouth, Brody is on the radio, Ellen
is crouching in the shelter of the deckhouse, Hendricks is
steering.
BRODY
Amity Launch to Harbor Patrol, over.
HARBOR PATROL (V.O.)
(filtered)
Harbor Patrol. Is that you, Brody?
BRODY
Affirmative. Can you get your chopper
airborne?
PATROL VOICE
10-4, in a few minutes. He's down
checking a buoy in the Bay Channel.
BRODY
Get him the hell over to Amity Point,
the old lighthouse. Right now.
PATROL VOICE
What for?
BRODY
There's a bunch of Kids day-sailing
that way. Turn them back to port.
PATROL VOICE
That's it?
BRODY
That's it. Just do it, all right?
PATROL VOICE
10-4, soon as I can raise him.
BRODY
If they're not at the light, look
for them. I don't want them out there.
Get them back to port!
PATROL VOICE
(exasperated)
Affirmative, affirmative. Turn the
Kids day-sailing back to port. I
heard you. Patrol out.
As Brody's eyes sweep the horizon anxiously, Hendricks pours
it on, and the police boat surges forward.
CUT TO:
EXT. OCEAN - DAY - KIDS SAILING
Donnie and Denise and Susie are sailing close to each other.
DONNIE
Hungry?
DENISE
Starving. Let's go eat now.
DONNIE
(shouting to Susie)
We're going in to eat!
She nods agreement, their boats veer off from the rest and
head towards the lighthouse.
CUT TO:
ANGLE ON THE SIZZLER
as it sails close to the Green Machine.
LARRY
Hey! Brody! Want to race?
MIKE
(confident)
Sure.
LARRY
How about a side bet to make it
interesting?
JACKIE
That's fun! Let's race for something!
MIKE
Name it.
LARRY
Loser sails home alone.
ANDY
(aside to Mike)
You're betting what you already got.
MIKE
I don't care.
JACKIE
I love it.
ANDY
Sure you do -- you win either way.
JACKIE
(simply)
I'm supposed to.
LARRY
It's a bet. Once around the marker
buoy?
MIKE
That's the pin -- the buoy.
Larry is confident -- he's got the air, but Mike suddenly
gybes without warning, snapping onto a new fast tack,
downwind. Larry and Bob are caught by surprise, and lose
precious moments as they fumble with their sails.
ANDY
(pulling away)
Turkeys! Eat wind!
MIKE
Yee-hah!
He pounds with glee on the canvas trampoline as their boat
moves ahead, a drumming sound.
UNDERWATER
The twin hulls of a catamaran's hull, the muffled, eerie
sound of drumming, as the water carries the tempting "thud-
thud-thud" sound down to the deep.
ANGLE ON DOUG IN HIS INFLATABLE
falling behind as the boats change course for the marker
buoy, following Larry and Mike's lead.
DOUG
Hey! Wait for the H.M.S. Invincible!
Brooke and Timmy sail by him, laughing; Polo with them.
BROOKE
Can't -- we're watching a race!
DOUG
Since when? Who's racing?
TIMMY
Larry and Mike!
PATRICK AND LUCY
Pat and Lucy are trimming sail, moving faster.
LUCY
Mike and Larry are racing! Loser
goes home alone!
PATRICK
If we beat them, they can both go
home stag! Single-O! Alone! Jackie
can come back in this boat!
LUCY
What about me?
PATRICK
Uh. Well. Maybe you could give Polo
a hand going in...
LUCY
(snapping him with a
rope)
Your ass I will. Besides, the wind's
turning with the tide. Sailing back
is going to be a bitch.
QUICK CUTS - SAILBOAT RACING MONTAGE
-- Ropes and sails rattling through blocks.
-- Sails snapping taut, filling with wind.
-- Catamarans heeled over, racers hanging over the water,
dangerously suspended in trapeze harnesses.
-- Skippers' faces, concentrating on boat handling.
AERIAL VIEW - SAILBOATS
It's the chopper's point of view, as the Harbor Patrol copter
from the Cape flies towards the Kids, following Brody's
previous instructions. He sees the sailboats and fly that
way.
PILOT
(filtered, into his
mike)
Air Patrol to Base. I have visual
contact on the Kids. Going down to
use the loud hailer...
LOOKING UP AT THE APPROACHING COPTER
It approaches the sailboats, losing altitude fast, rotor
blades chuffing up a storm.
The Pilot has his microphone to his lips, and his voice is
blaring down at them.
PILOT (V.O.)
This is the Harbor Patrol. Return to
port immediately. Return -- to --
port -- immediately.
THE BOATS
The Kids look at each other, some coming about awkwardly,
others luffing, wondering what this is all about.
ANDY
(to Mike)
Your dad must be really pissed.
MIKE
We better go back in.
ANDY
It's not going to be easy.
JACKIE
What's wrong?
MIKE
We're fighting wind and current. I
though we'd be out longer, catch the
incoming tide.
ANDY
Putz -- that won't be for hours.
MIKE
I was counting on hours.
CHOPPER (V.O.)
Return -- to -- port.
MIKE
We're trying, we're trying.
He waves acknowledgement, and puts about. The others take
their cue from him, and set a rough course back, but without
much success.
PATRICK AND LUCY
LUCY
Heading back?
PATRICK
Might as well.
ANGLE ON THE THREE SLOOPS
Polo, Timmy and Brooke, Marge and Sean. They see the faster
catamarans come about and try to beat back.
POLO
They're turning around.
LUCY
Coming about, then.
SEAN
Are we going back?
MARGE
Going to try. Lighthouse, everybody...
She puts about, the three of them start back towards the
lighthouse, not making much headway. Doug's inflatable is
the slowest, and he is now, by virtue of his position, at
the head of the line beating back towards the island.
DOUG'S BOAT
The others in the b.g.
DOUG
Make way for the Carrier Enterprise!
INSERT - A WEAK PATCH IN THE RUBBER
It whistles and visibly leaks under the strain.
DOUG
looking down in dismay.
DOUG
Make that the Titanic.
He rigs a little foot pump, and begins thumping away, trying
to breath air back into the raft.
INT. CHOPPER - LOOKING DOWN AT THE SAILBOATS
PILOT
Patrol One to Base. Looks like they're
turning back.
CONTROL
All right, Patrol. Go back to work.
You've wasted enough time.
UNDERWATER
Looking up at the scattered hulls of the sailboats, the
turbulence from the low-flying chopper making a vast circular
pattern of irregular vibrations.
LOOKING UP AT THE CHOPPER
It wheels around, and heads back towards land.
CUT TO:
ABOARD THE AMITY POLICE BOAT - DAY
Rushing through the seas under full power. About three hundred
yards ahead, a small, seemingly empty sailboat; Ed and Tina's
Sandpiper. Further off, a day-sailing power cruiser, sport
fishing.
ELLEN
Michael?
BRODY
It's not his boat.
Hendricks maneuvers closer, slowing the engine, reversing in
time to bring them alongside with a gentle bump. Ellen watches
apprehensively as Brody drops into the little boat.
ELLEN
Be careful...
HENDRICKS
Anything?
BRODY
(on the Sandpiper)
Nope...
(he sees something)
Hold on...
Brody moves around on the deck of the Sandpiper, until he
discovers Tina, cowering in shock; a sudden revealing of a
terrorized victim.
BRODY
Tina!
TINA
(a moan)
N-o-o-o-o-o-o...
BRODY
It's okay, it's okay. What's the
matter? Tina? Honey? Hey --
TINA
No! It's still there!
BRODY
What is it? What's there?
TINA
It's still there!
BRODY
(to Hendricks and
Ellen)
I need a hand here...
Hendricks has gotten a blanket, and he steps over, putting
it over the shivering girl's shoulders. Ellen comforts the
girl.
ELLEN
Tina, baby... what is it?
TINA
Sh... Sh... Shark...
ANGLE ON BRODY - FOLLOWING HIM AS HE REACTS
BRODY
I knew it. I goddamn well told them.
He moves abruptly, stepping up onto the police launch,
snapping on the radio, leaving Hendricks, Ellen and Tina on
the sailboat moored alongside.
BRODY
Amity Launch to Harbor Patrol.
PATROL COMMANDER (V.O.)
(filter)
This is Cape Patrol -- what is it,
Brody? I heard you weren't chief
anymore.
BRODY
Skip that. What about those kids out
sailing?
COMMANDER (V.O.)
It's all okay -- Colby got to them.
They were turning back when he left
'em.
BRODY
He left them?
COMMANDER (V.O.)
Sure. He's got work to do in Bay
Channel.
BRODY
Get him the hell back there! We got
possible fatalities! Brody out...
His eyes wild, Brody looks over at the Sandpiper, then scans
the nearby waters with sudden tension.
BRODY'S POINT OF VIEW
Ellen and Hendricks comforting Tina on the Sandpiper. Nearby,
a big cabin cruiser casually trolling by. Brody pulls the
police boat's air horn, the cruiser's passengers look over,
Hendricks and Ellen jump at the unexpected blast.
ANGLE ON BRODY
BRODY
I'm going out there.
HENDRICKS
Hey -- you can't do that.
ELLEN
What is it? What's the matter?
BRODY
Mike's out there.
Brody starts the launch's motor, throwing clear the mooring
line that ties the two boats together.
BRODY
(to Hendricks)
Get her in. Get them both in.
ELLEN
Martin, please!
HENDRICKS
Chief, be sensible...
BRODY
Where are they?
HENDRICKS
About 10 degrees off your starboard
bow, take a heading leeward of Sand
Island, and lay her north by
northeast...
BRODY
Never mind that shit. Just point.
Hendricks complies.
HENDRICKS
(pointing)
See where Cable Junction is? Look to
the left. The lighthouse. That's it.
BRODY
Got it.
And he kicks the engine into gear, moving the launch away
and out toward the sea.
ELLEN
Come back! Martin!
He guns the engine as soon as he's clear. Hendricks gives
his jacket to a suddenly chilled Ellen, and hails the cabin
cruiser, already changing course to pick them up, sounding
its horn.
Ellen stares after the receding boat.
ELLEN
My purse is on that boat.
CUT TO:
EXT. OCEAN - DAY - THE KID'S SAILBOATS
They are trying to beat back towards the lighthouse, fighting
wind and tide. Only Doug's inflatable, with its clumsy little
motor, is making any headway.
ANGLE ON DOUG
playing at being Charles Laughton.
DOUG
Mr. Christian! Mr. Christian! Pump
up this boat! And shave that silly
moustache!
Pumping, steering, he's floundering along.
UNDERWATER - MOVING TOWARDS THE SURFACE
The Shark has fixated on something -- one outlying shape,
the easily identifiable outline of Doug's inflatable, thumping
and putting. It homes in on the sound.
ANGLE ON DOUG AND THE KIDS
The other kids exchange banter with Doug in his raft, as he
clowns for their benefit.
DOUG
England expects every man to do his
duty... You may fire when ready,
Gridley... Damn the torpedoes, full
speed ahead...
Despite his pumping, the bulging patch bursts with a loud
bang.
DOUG
Oh, shit.
ANDY
Someone pop your balloon?
DOUG
No problem, no problem.
JACKIE
Want a lifesaver?
MARGE
How about a skyhook?
DOUG
You sail your boat, I'll sail mine.
A fin rises partially, almost invisible to most of the kids,
but Mike notices it, believing it to be a porpoise.
MIKE
Hey, Fetterman -- You got company.
DOUG
Company? The place is a mess...
Before anyone can react, the shape rises behind Doug, striking
his raft a terrible blow.
DOUG
Whoops.
CUT TO:
THE OTHERS, WATCHING
Not making any headway themselves, they casually watch the
class clown, wondering what he's up to this time.
DOUG'S BOAT
a distance from the rest. It shakes, then blows up as big
teeth grip it from below. Doug goes flying into the drink.
The Shark has the inflatable in his teeth, and is shaking it
from side to side. Doug's eyes bug out as he sees what's
going on. He begins treading water, backing away as fast as
he can, waving his arm in the air frantically -- "pick me
up, quick..."
MIKE'S BOAT
MIKE
Doug's down!
He sails to where Doug is being carried along by the current.
The inflatable is a mess -- shredded rubber and dead engine;
the Shark didn't like it.
ANDY
Doug! This way!
Doug carefully -- oh, so carefully -- strokes over to where
Mike and Andy can pull him abroad. Some of the others sail
closer to get a look.
PATRICK
What was that about?
MARGE
You okay?
LUCY
What was that?
LARRY
So much for the rubber duck.
THE GROUP, DRIFTING TOGETHER
This incident hasn't yet touched them -- no one actually saw
what it was, except Doug, who's never been serious about
anything. Until now.
DOUG
A shark ate my boat.
BOB
Come on.
DOUG
I'm telling you, a goddamn shark ate
my goddamn boat!
ANDY
If he liked your boat, I got some
sneakers he'll love.
There's nervous laughter from all around as they examine the
remains of Doug's inflatable. Some of those jagged rents
could be made by teeth...
KIDS
(ad lib)
...Jeez -- what did that?... A
porpoise, maybe...Nah, killer whale...
I think he snagged it... I hate to
pop his balloon... (Etc.)
ANGLE ON MIKE'S BOAT
Doug's inflatable is draped over the tip of one hull, forward.
Without warning, the Shark hits. Screams, terror, confusion.
Mike, Andy, Jackie into the water.
CLOSE ON MIKE
His head bangs on a metal fitting as the boat turns over.
ON THE GROUP
Patrick and Lucy ram into Timmy's boat, locking into it,
knocking Timmy into the water as Brooke screams.
CONFUSION
As the following events take place:
-- Larry's red cat rams and locks onto Mike's Tornado.
-- Marge's boat capsizes, putting Sean and Marge into the
drink.
-- Marge scrambles up on the over-turned hull, pulling Sean
up with her, just in time.
-- Polo, under full sail, scoops Mike out of the water before
the Shark can get to him.
-- The Shark dips out of sight.
SURFACE, WIDE OVER THE STERN OF POLO'S BOAT
showing the results of the turmoil:
ANGLE ON THE SURVIVORS
As they make ineffectual, frightened moves towards grouping
together, Andy is the first to gain any composure.
ANDY
Raft up! Raft 'em up!
He reaches towards a drifting line, and pulls Timmy's
Doughdish towards them, tying it off as it comes close.
LARRY
Tie off to your strongest point.
PATRICK
Anyone need an extra line?
Polo has Mike and Timmy aboard his boat. Timmy is looking
up from examining Mike's dazed body.
TIMMY
Mike's bleeding!
ANDY
Can you sail?
POLO
(testing his rudder)
Yeah! We'll take him in!
He starts to make sail back towards the lighthouse, on a
severe, but manageable tack. Polo, Timmy, and the injured
Mike sail towards safety, leaving the others behind.
Tackle the job at hand, concentrating on survival. Jackie is
strangely quiet; things are out of control...
CUT TO:
CLOSE ON A NAUTICAL CHART - DAY
clearly marked: Amity Island, Amity Lighthouse, Cable
Junction. Brody's nervous finger traces an approximation of
his course. It fumbles, pauses, stops.
ABOARD THE POLICE BOAT - DAY
Brody, looking up from his chart, scans the ocean. Ahead is
the Lighthouse, his immediate destination. Out of sight to
the right, Cable Junction, and beyond that, 2500 miles of
cold Atlantic. Brody looks up from his chart, and grabs the
radio.
BRODY
(on radio)
Amity Launch to Patrol Air Unit One.
Harbor Air, where are you?
CHOPPER PILOT (V.O.)
(filter)
This is Air One. That you, Brody?
BRODY
It's me. Any fix on those Kids?
PILOT (V.O.)
Negative. I'm still down.
BRODY
For Christ's sake, get going! I'm
all alone out here!
PILOT (V.O.)
Brody, I got to switch frequencies,
call my boss. We'll meet you over by
Francis Shoal. Harbor Air out...
BRODY
Where the hell is Francis Shoal?
Static. No answer. Brody realizes something
BRODY
I'm all alone out here.
RUNBY
The Amity Police Boat, under full
power, surging through the heavy
swell, Brody very much alone at the
helm.
EXT. OCEAN, NEAR THE LIGHTHOUSE - DAY
We can see Brody's boat approaching. It slows as it nears
the island.
CLOSE ON BRODY
staring, perplexed. Which way?
BRODY
Shit.
He puts the wheel over, slewing the boat around. To the left --
the wrong way.
ANGLE ON THE BOAT, LIGHTHOUSE IN B.G.
It barrels off to the left.
DISSOLVE TO:
THE RAFTED BOATS
floating in the current, drifting away from the lighthouse,
towards the open sea. Floating on the wreckage and tangled
boats are: Doug, Andy, Jackie, Patrick, Lucy, Larry, Bob,
Brooke, Marge, and Sean.
LARRY
Anyone know what time it is?
DOUG
3:30.
MARGE
Damn!
Larry, Bob, Patrick, and Lucy (the practiced sailors) ad lib
equal dissatisfaction.
JACKIE
What's wrong?
BROOKE
Tide doesn't turn for three hours.
DOUG
Low tide at Cable Junction is 7:46
p.m.
ANDY
What'd you do? Memorize the tide
tables?
DOUG
I can't help it, it sticks in my
mind.
BROOKE
(making light of it)
Anyone want to play charades?
No one does.
PATRICK
As long as we're drifting, might as
well go with the flow.
ANDY
Not funny.
PATRICK
Three knot current?
LUCY
At least. And an offshore wind.
SEAN
What's after Cable Junction?
BOB
The Atlantic. Then Ireland.
JACKIE
Can't we stop?
Silence from the group.
BROOKE
They're probably looking for us.
DOUG
What about the fish?
LARRY
Maybe it's gone.
DOUG
They tend to follow moving things.
Maybe it's following Polo and Timmy.
They consider this.
BROOKE
So all we have to do is land at Cable
Junction and wait.
PATRICK
First we got to get there.
LARRY
How're we going to do that floating
on this garbage...?
BOB
Anyone got another set of sails?
The Kids scramble to rig whatever canvas is available.
SEAN
Is that big thing still out there?
MARGE
Shhhh.
CUT TO:
HELICOPTER (AERIAL) FLY-BY
A panorama of open ocean; a quick fly-by to orient us: First,
Cable Junction, then, a mile or so ahead, the raft.
THE RAFT
More sail, some improvised rigging, Patrick and Lucy trimming
what there is, trying to steer the clumsy contraption. From
afar, the distant sound of an approaching chopper.
LARRY
Hey!
BOB
(waving)
Over here!
The Kids react with enthusiasm to the arrival of the rescue
chopper.
ANDY
Don't everyone jump around!
But they ignore him. The copter is descending.
INT. COPTER - DAY
A one-man light spotter; the space next to the pilot cluttered
with tools and floats, lashed in place. Below, seen through
the plastic bubble, the raft growing larger as the chopper
sets down.
PILOT
Air One to Base. I have a positive
location on that sailing party.
Disabled and adrift...
(he checks chart on
his knee board)
...about 3/4 miles west of Cable
Junction, wind and current carrying
them just about due east. I count
ten juveniles.
THE RAFT
The helicopter is creating a lot of turbulence as it sets
down, a huge circular pattern of prop-wash on the surface as
the rotors slow to a halt. The Kids are waving and jubilant.
ANGLE ON THE COPTER
As the Pilot unbuckles, opens the door, and steps out on one
pontoon; he speaks through a bullhorn.
PILOT
Everyone okay? Any injuries?
The Kids ad-lib in the affirmative.
ANDY
Can you put us on Cable Junction?
PILOT
I got no room for passengers.
ANDY
How about a tow? Can you rig that?
The Pilot nods. Larry heaves a line to him, the Pilot catches
it and makes it fast to a convenient tie-off on the
undercarriage.
LARRY
As soon as you get us on the island,
you got to call in. My dad's the
mayor...
ANDY
(interrupting)
There's a shark...
The other Kids all chime in, adding their ad-lib shouts
describing what happened, calling for help, etc. It's all a
noisy jumble, the Pilot ignores it, trying to do his job.
ANGLE ON THE RAFT
The Kids all shouting at once; Jackie is screaming.
JACKIE
You have to take us off! You have
to! Why don't you take us!
DOUG
(calming her)
It's an observation spotter, he
doesn't have the room...
ANGLE ON THE PILOT
He finishes tying off, and yells through his bullhorn at the
Kids.
PILOT
Listen. I'm going to give you an
assist to get you on Cable Junction.
Then I'll call in, and get the Coast
Guard to send a cutter. Hang on to
something.
He climbs into his bubble, shuts the door, gives the Kids a
"thumbs up," and starts the engine.
QUICK CUTS - RAFT AND CHOPPER
Engine turning over.
A line tied off to one of the ringbolts on an overturned
hull; it pulls taut out of the water.
INT. CHOPPER, THE PILOT INTENT ON HIS JOB.
The raft, Kids watching in fascination and anticipation.
The whole operation, getting under way.
UNDERWATER
looking up at pontoons, wreckage, wind turbulence on the
surface, the heavy "thud-thud-thud" of chopper blades.
WIDE ON THE RAFT AND CHOPPER
In the f.g., the fin rises, and starts for the scene.
Follow it.
CLOSE ON THE CHOPPER
as it starts to lift, inexplicably. The Pilot reacts as;
THE SHARK
attacks one of the pontoons, biting down on it, clamping
great scarred jaws onto the bulbous floats.
THE RAFT
Kids screaming.
QUICK CUTS
-- Rotor blade spinning wildly.
-- Pilot's hands jerked on the delicate controls.
-- Med. shot, copter shaking.
-- Closeup engine and gas tanks, rotor head spinning.
-- Med. closeup Pilot in buffeting cockpit.
RAFT AND COPTER
The Kids watch, horror-stricken, as the giant Shark hangs on
the roaring copter; in the b.g., Cable Junction is looming
closer. The copter tilts dangerously, the Shark bites deeper,
harder.
ANGLE ON THE COPTER
as it tilts. Then, the unspeakable -- the blades touch the
water and explode. Chunks of murderous steel break off the
shattered blades and whistle through the air like projectiles.
THE KIDS
reacting, ducking in terror. Huge chunks of disintegrating
rotors are flying all around. Masts and sails left standing
before are chopped into a deadly salad. Screams.
LOW IN THE WATER
as blades skip and crash, the bubble of the overturned copter,
Pilot trapped inside, sinks into the sea.
THE COPTER COCKPIT - UNDERWATER
Pilot struggling with his safety harness, trying to hit
switches, working on instinct. Some air in the bubble, but
water too, and sparks as electrical connections short out
and burn.
Then, the Shark, powering out of the murk.
ANGLE ON THE PILOT - UNDERWATER
as grim death batters at his fragile bubble. Screaming.
The bubble cracks. Water floods, teeth snap at the slippery
plastic, the Pilot fumbles for oxygen as the Shark veers off
into the murk.
ON THE SURFACE - THE RAFT
The Kids, reacting as the broken copter sinks beneath the
waves. Calm for a moment, then:
LARRY
Look out!
JACKIE
(screams)
No-o-o-o!
The Shark reappears, and batters at the raft.
SHARK ATTACK
The raft shudders, and begins to break up under the pounding.
The Kids cling for their lives to masts and wreckage.
Marge's overturned hull is struck a fierce blow from beneath.
SEAN
Help!
He and Marge topple into the water.
ANDY
Don't struggle!
Sean is bobbing in his life-vest, Marge strokes to be near
him.
ANGLE ON MARGE AND SEAN
in the water, swimming for the apparent safety of the raft.
Then, the fin, and the massive bulk of the killer, heaving
up through the waves.
MARGE
Sean!
She heaves him up out of the water, hurling him with
desperation towards the safety of the floating hull.
ANGLE ON SEAN
screaming, hands and feet scrabbling like a monkey as he
struggles for a grip on the slippery surface. Behind him,
Marge helping as much as she can from the water. Then, behind
her;
THE SHARK
rising like grey doom, then dropping out of sight. Marge is
gone.
UNDERWATER
Marge ducking under the bulk of the Shark, shoving off with
panicky reserves of strength, swimming away underwater, while
the Shark takes a massive crunching bite out of a submerged
hull.
Follow Marge as she swims.
COPTER WRECKAGE
Huddled in the cracked plastic bubble, the Pilot is sucking
air from his oxygen tank. He sees Marge, and slips out of
his bubble, headed for her.
MARGE
As the Pilot overtakes her -- a moment of horror, as she
thinks the Shark has found her, then relief, as the Pilot
motions to the bubble, and indicates "Air." She follows him.
MARGE AND THE PILOT
Scuttling like two crabs into the shelter of the broken
chopper, buddy breathing as he passes her the oxygen tube.
The chopper tilts, and moves, breaking up on the bottom as
currents move it. They struggle silently.
ANGLE ON THE CHOPPER
as it slips across the bottom, the current pulling it, broken
parts breaking off in slow motion, dirty swirls of oil and
hydraulic fluid clouding the water.
CUT TO:
ON THE SURFACE - THE RAFT
A parallel struggle for survival, as the current separates
Sean from the other Kids; Marge is gone, the little boy is
clinging alone to the free-floating Lightening.
PATRICK
Sean! Sean!
ANDY
Don't move!
SEAN
Andy! Please help! Help!
ON THE SURFACE - A DISTANCE AWAY
Copter wreckage is bubbling up from underneath, like a
submarine destroyed by depth charges; an oil slick, pieces
of broken blade, a seat cushion, then, suddenly, the Pilot,
and Marge, almost choked to death, their air run out. They
cling to a section of pontoon, panting, looking around with
oxygen-starved eyes.
They are alone on the ocean; a half-mile away, the distant
sails of the broken raft, and the low-lying shape of Cable
Junction. Safe, for now...
CUT TO:
BRODY - ALONE IN THE POLICE BOAT - DAY
He throttles down, and the boat slumps in the water. He looks
around, sees nothing, in all directions. He hits his radio.
BRODY
Harbor Air, this is Brody. Air One,
come in.
Static, no answer. He tries a couple of times, checking the
knobs and dials to make sure the unit's working.
BRODY
Harbor Air, do you read? Over?
PATROL VOICE
Brody? This is Patrol Base.
The familiar voice is tinged with annoyance. He's had a long
shift, and nothing's going right.
BRODY
Where the hell is Air One?
PATROL VOICE
That's what I'd like to know. Lost
transmission at Cable Junction.
BRODY
Did he raise the Kids?
PATROL VOICE
Last transmission said ten juveniles.
BRODY
Yeah? Then what?
PATROL VOICE
Then nothing. If you see him, tell
him to switch to an operational
frequency, or give me a status report
yourself.
BRODY
Did you say Cable Junction?
PATROL VOICE
That's what he said.
BRODY
When?
PATROL VOICE
1530 hours. Might still be there.
Base out.
Brody revs up, and powers out, headed for Cable Junction.
CUT TO:
EXT. OCEAN - DAY - THE RAFT
Sean is crying on his isolated perch, clinging to the upturned
keel. The other Kids are throwing a rope, trying to get him
back. Patrick heaves, and misses.
LARRY
Sean! Catch the rope!
BOB
The rope! The rope!
The others shoot fearful glances at the waters.
PATRICK
He's got to help or it won't work.
LUCY
Sean, baby, please...
Sean is ignoring the efforts to rescue him, paralyzed by
fear, he shivers alone. Jackie is near catatonia herself,
Brooke and Doug trying to soothe her.
JACKIE
It killed her. It ate her.
BROOKE
Shh. Shhh...
DOUG
It's okay, it's okay...
ANDY
Sean! Listen! Listen to me, Sean.
The kid looks up dully.
ANDY
Goddamn it, Sean, you listen to me
or I will kick your ass, do you hear
me?
LUCY
Listen to Andy, Sean.
ANDY
We're throwing a rope and you better
catch it, hear?
Sean nods. The other Kids are encouraged. The rope is thrown --
it misses.
ANDY
(to Bob)
Keep an eye out for that fish.
Bob climbs to a vantage point, watching.
LARRY
Throw it.
ANDY
Sean! Catch it!
Another miss. In his haste to help, Larry overreaches to
fish the trailing rope out of the water, and falls headlong
into the sea. Shrieks of fright from the others.
LUCY
Larry!
He scrambles out, hardly wet, that's how fast he's moving.
Finally -- Patrick takes the crucial throw, and the rope
practically knocks Sean off his perch, but he clutches and
holds it. As Andy carefully calls instructions, Sean secures
the rope and the others carefully, carefully begin to pull
him in.
ANGLE - ON SEAN
as they pull. The slippery rope is undoing itself.
THE RAFT
With the kids reaching out hands, sticks, rope, anything to
pull the little one to safety. The ocean swells rise and
fall with hidden menace.
QUICK CUTS
-- Hands gripping rope.
-- The knot, pulling apart.
-- Anguished faces, concentrating, as Patrick, Lucy, Larry,
and Andy struggle to bring him in.
ANDY AND SEAN
Success. He's pulled to safety. They lash his little hull as
tight as they can to the rest of the floating wreckage.
Bob sees something.
BOB
Cable Junction's ahead!
LUCY
Can we make it?
BOB
I don't know.
BOB'S POINT OF VIEW
looking over the wreckage to Cable Junction, now much closer.
Beyond it, miles of empty Atlantic. It's off to one side,
and unless they can slow down or alter course, they will
miss it.
THE RAFT
LARRY
(to Jackie)
You okay?
She's not. Shaking, silent, eyes glazed.
LUCY
(alone)
Dear Jesus, Holy Mary, Mother of
God, help us, please...
(her lips move
inaudibly)
BROOKE
(to Doug)
Keep her warm.
(to Jackie)
Jackie? Baby?
PATRICK
Can someone help me rig a jury rudder?
We might steer this...
Andy joins him, and they try to make a sweep or a rudder out
of whatever wreckage they can use.
DOUG
By 7:46, when the tide turns around,
we'll be twenty miles out. More,
with this wind.
LARRY
Shut up.
DOUG
I can't stop thinking!
LUCY
(praying aloud)
God, please help us, Merciful Father,
in Christ's name, we beg you, help
us, please, Dear God, save us, help
us, please, God, help...
CUT TO:
BRODY'S POLICE BOAT - DAY
He is rounding a sand bar off the lighthouse when he looks
ahead and sees the bright sails of some of the survivors'
boats.
BRODY
Thank Christ.
He puts the helm over and heads for them.
CUT TO:
EXT. OCEAN NEAR LIGHTHOUSE - DAY
Polo's sloop is beating back towards the harbor when the
police launch bears down, Brody leaning on the air horn.
The Kids signal and wave.
POLO
Over here! Yo!
BRODY
I'm coming alongside!
The launch slows clumsily. Timmy gets a line around a cleat,
and pulls them fast.
BRODY
Mike? Is that you?
MIKE
Pop. I'm sorry.
BRODY
It's okay. What happened?
POLO
A shark hit us out there.
TIMMY
Mike got knocked over.
Brody goes for his radio, to report in, to call for help.
MIKE
I passed out, but I'm okay.
BRODY
At least you're safe. What about the
others?
The three boys look at each other.
BRODY
Jesus, don't freeze on me. What about
the others?
MIKE
(tears in his eyes)
Sean's still out there.
BRODY
What?
He stops in his tracks, radio forgotten. heartsick. Mike
goes on,
MIKE
He wanted to come. It was okay, wasn't
it? It was okay before...
POLO
The others are ratted together.
Drifting.
BRODY
Which way?
TIMMY
With the current. Towards Cable
Junction.
Brody jerks the mooring line holding them together, freeing
it. He starts for his controls, obsessed.
MIKE
Dad, I'm sorry...
BRODY
Stay here. Don't go anywhere. Just
stay here.
He indicates the lighthouse, then guns his engine.
BRODY
Stay at the lighthouse!
He roars off, headed towards Cable Junction.
CUT TO:
EXT. OCEAN - DAY - THE RAFT
approaching Cable Junction the rafted boats are drifting
towards the Cable Junction. Larry, Patrick and Andy are
working on improvised tiller lines to a jury rudder made out
of wreckage. Lucy has another line out to a sea anchor, trying
to slow their drift.
ANDY
Bring her to port a little. That's
it -- steady.
DOUG
I think we're changing course a
little.
BROOKE
Can we land on it?
LUCY
If we can get to it.
JACKIE
We're going to die.
BROOKE
(comforting her)
It's all right, we're okay.
ANDY
More to port.
BOB
It's all the way over.
ANDY
Shit.
SEAN
Are we going to go on the island?
BROOKE
You bet, kiddo.
ANDY
(the realist)
I don't know.
LARRY
What the hell, we're steering for
it.
DOUG
The wind drift is lateral.
LARRY
What's that mean?
DOUG
Sideways -- For every yard we go
this way, we also slide sideways
this way...
His hands illustrate the predicament.
LUCY
But we had it! We were headed right
for it!
ANDY
Shit. Shit, shit, shit!
JACKIE
We're going to miss it!
The others are silent. It's true.
ANGLE ON THE RAFT
Larry, Bob and Brooke try to alter its course by padding.
ANDY
Don't!
DOUG
Stop paddling!
LUCY
But the island!
ANDY
The Shark.
They freeze, as the raft grinds against something.
UNDERWATER
The inverted mast of one of the wrecked boats is snagged on
the rocks on the bottom.
ANGLE ON THE RAFT
as it slows, then stops, hung up from below.
BROOKE
What is it?
ANDY
We're hung up on something.
DOUG
Maybe the bottom.
JACKIE
(hysteria)
It's that thing. It's going to kill
us now... We're going to die!
LARRY
Shut up! Just shut Up!
BROOKE
Leave her alone!
BOB
Lighten up, man...
LARRY
It's bad enough without
her freaking out.
PATRICK
She's hysterical, goddamn
it!
LUCY
Don't yell at her!
The group dissolves in bitter exchanges. No one is rational.
Lucy is the first to notice something...
LUCY
Wait a minute! Listen! Listen!
The group subsides, only Jackie is left, keening to herself.
There's a distant sound of a boat's engine. Bob spots it
first, and waves.
The others follow his pointing finger.
BOB
Over there! Coming this way!
HIS POINT OF VIEW - BRODY'S POLICE BOAT
under full power, heading straight for them,
THE KIDS
go crazy, waving, yelling, screaming, "Over here!" "Help!"
"Hey!"
SEAN
It's Dad!
ANGLE ON BRODY AND THE RAFT
in the boat, coming up on the Kids fast. He throttles back,
his bow wave almost swamping them as he slides past.
ANDY
Easy, easy -- you'll swamp us!
DOUG
Back down!
Brody fumbles with the throttle, manages to hold his boat
steady between the raft and Cable Junction island.
LARRY
We're hung up here. Snagged.
BOB
Can you get us a line?
Brody finds a coil of line, makes one end fast, then throws
it to the Kids on the raft. They catch it, and tie it off to
a cleat.
DOUG
We got it!
PATRICK
Go ahead, slow.
LUCY
Be careful.
Brody throttles forward, the police boat shudders under the
strain as the line goes taut.
ANGLE ON THE RAFT
where the rope is tied off to a cleat. The wood groans, screws
pop --
ANDY
Whoa!
Too late. The cleat rips out, Brody's boat leaps forward.
DOUG
Come around again!
ANGLE ON BRODY'S BOAT
as he repositions; he's now between the raft and the island,
preparing to throw his line. He heaves, the Kids grab, they
have it, they tie off again,
ANDY
Hang on, hang on -- we got it. You're
on!
SEAN
Dad! Help!
Brody starts to pull the raft again, when:
THE SHARK
surfaces, and moves purposefully towards the gap that
separates the police boat from the raft. It lunges at Brody
as it passes the launch; the fin hits the taut rescue line,
snapping it.
ANGLE ON BRODY'S BOAT
Brody recoils in horror as the beast rushes past, he spins
the wheel and hits the throttle, sending the launch hard to
port. Out of control, it runs up on the rocks of Cable
Junction.
INSIDE THE BOAT
as it tips up on the rocks. Brody falls, equipment and loose
material breaks loose and falls.
INSERT - THE RADIO
held by only a few screws, it pulls out of its mount and
shatters on the deck.
ANGLE ON THE STERN
lifting high out of the water, the screw turning in air.
THE KIDS ON THE RAFT
Their horrified reactions.
BRODY IN THE BOAT
picks himself up, and staggers to the rail, sees his
predicament.
BRODY
Hang on!
SEAN
Dad! Dad!
BRODY
I'm okay, baby, I'm here. It's okay...
He climbs over the rail, onto the slippery wet rocks, trying
to get to where he can help. The Shark patrols the gap,
waiting.
BRODY
Can you get a line to me?
ABOARD THE RAFT
the Kids find some line. Andy coils, and throws.
CABLE JUNCTION - THE RAFT
Brady catches the Kids' line. He heaves on it with all his
might. Nothing. Jackie is hysterical, some of the other Kids
are screaming. The Shark's fin catches the taut line, it
slides up and over, Brody and the Kids are nearly pulled
into the water. The raft doesn't budge.
UNDERWATER
the mast bends under the strain, but holds the raft stuck
fast.
CABLE JUNCTION - BRODY AND THE KIDS
He sees the winch and hooks on his launch, and makes the
towline fast to the steel winch cable; puts it in neutral.
The Kids haul their line, trying to bring the steel cable to
them.
The shark rams their raft, impatient now. Screams and
scrambling as they let go their line and try to avoid the
beast. Brooke huddles with Sean, Jackie cowers alone. Larry
is lashing his big buck knife to a pole, an improvised weapon.
ANGLE ON THE WINCH LINE
Unattended, it drops into the water.
THE KIDS
ANDY
Get the cable in! Pull!
They do, but now the winch cable is snagged under the surface.
It comes taut, but doesn't budge. Brody watches, helpless
for the moment.
BRODY
Son of a bitch is stuck!
BRODY
climbs back onto the boat, starts the winch engine, trying
to pull the cable free.
THE SHARK
on the offensive now, takes an outrigger pontoon, biting it,
tearing it off the raft, shaking everything.
ON THE RAFT
the Kids react to this fresh attack.
DOUG
It's killing us!
JACKIE
I don't want to die! Mommy!
IN THE BOAT
The winch smokes and stalls, the weight it's pulling almost
too much.
BRODY
Come on, you bastard, come on, pull.
Pull!
THE RAFT
bursts apart from the center as the Shark lunges up through
the canvas trampoline of the Sizzler. The Kids, screaming,
fall into the water as the attack forces the fragile structure
into pieces. Only Sean, Brooke, and Jackie are left on the
remaining segment.
ANGLE ON BRODY
watching the destruction, seeing Sean practically alone in
the water.
BRODY
Sean! Hang on!
He looks around the deck frantically, spots a rubber emergency
inflatable in its case. He wrestles it off its brackets, and
breaks the seals urgently. He hits the auto-inflate.
BRODY'S POINT OF VIEW - SEAN
Alone on the raft, Brooke and Jackie helpless nearby, the
other Kids flailing in the water. The huge bulk of the Shark,
fin cutting the water as it closes in on the confusion.
IN THE WATER
While Brody inflates the rubber raft and throws it in the
water, the Kids scramble for safety, swimming for their lives.
Each one is sure this moment is going to be his last.
ANDY
Get on the rocks!
DOUG
Swim for it!
Andy is pulling himself towards the boat, scrambling up on
the exposed wooden hull.
PATRICK
Lucy! Look out!
ANGLE ON LUCY AND BOB
As she looks over her shoulder and screams -- the monster is
sliding past her, intent on Bob. The rough hide scrapes her,
tearing her clothes, leaving raw bleeding lacerations on her
torso.
LUCY
I'm bleeding!
Larry and Patrick help her towards the rocks.
BOB
Help!
He's clinging to a piece of broken boat; the Shark lunges at
him.
INSERT - WINCH
grinding, smoking, hauling something out of the water --
heavy, slimy, dripping metal cable, the main powerline from
the mainland!
BRODY IN THE WATER
paddling the raft towards Sean with desperate strokes,
heedless of the danger around him.
BRODY
Hang on! Just hang on!
He fights to see in the gathering gloom. Suddenly, a strange
glare snaps on, then more illumination, in a series of
escalating clicks.
CABLE JUNCTION
Silhouetted against the evening sky. Automatic timers are
turning on navigation and worklights, illuminating the barren
rocks and rusty steel with their glare -- throwing dark
shadows, putting the surrounding water into black limbo by
their contract.
ANGLE ON BRODY
straining to see what's going on. Looking for his son.
SEAN (O.S.)
Dad! Help! Daddy!
BRODY
I'm coming!
He looks around desperately, sees Andy safe on the launch.
BRODY
Andy! Use the lights! The lights!
ANGLE ON ANDY
soaked, clinging to the rail of the launch, hearing Brody,
fumbling in the cabin, turning on worklights, the boat
throwing erratic shafts of powerful light from its many lamps
and searchlights. Andy grabs one and sweeps the water with
it, trying to help.
ANDY
Where are you? Chief!
His light pokes and sweeps through the gloom.
BRODY IN THE WATER
He hears the horrendous sounds of wood and metal breaking,
as the raft pounds to pieces on the rocks. He is blinded by
the sweeping searchlight, the confusion of terror-stricken
teen-agers screaming. It's the middle of The Inferno.
BRODY'S POINT OF VIEW - SEAN
Sean, standing up, reaching out to him, the Shark hitting
his fragile perch, Sean tumbling backwards, towards what
seems to be certain death.
BRODY (O.S.)
Sean!
ANGLE ON BRODY
as he hurls his paddle at the Shark, anything to get even,
to distract it.
BRODY
You bastard!
He looks around him wildly, searching for a weapon, finding
a steel boathook. He screams at the unfeeling Shark...
BRODY
Come here, you son-of-a-bitch!
The huge gray hulk obligingly turns towards this new
irritation. Brody bangs on the raft, yelling, creating a
commotion.
THE SHARK SPEEDS TOWARDS HIM
THE SHARK
lunges at the raft, Brody sliding desperately away, smashing
at the snout with his steel, the tail fin bashing him as it
passes...
ANGLE ON THE STERN OF THE POLICE BOAT
Brody is drifting close to the cable, drawn heavy and wet
cut of the water. He reaches up to it.
ANGLE ON BRODY
dangling his feet in the water, holding onto the cable, seeing
it, inspired with a lunatic idea...
BRODY
Over here! You bastard! Over here
THE SHARK
turns, bleeding from a superficial cut on its snout, its
scar glistening wet and terrible. It heads for Brody.
BRODY
Possessed, yelling at the top of his lungs.
BRODY
Come and get me! Come and get me!
THE SHARK
Attacking. Missing Brody, who hauls himself up out of the
way in life-or-death spasm. The great jaws close, fastening
onto the thick cable. Shaking it. The cable resists for a
moment, then splits, layers or insulation and armor crack
open, the jaws clamp harder -- 20,000 tons of pressure --
then the live copper core is reached. Zap!
THE SHARK
dying. Leaping and convulsing as hundreds of thousands of
volts surge through its body, grounded in the salt sea. Hot
white fire shimmers like a halo, the fish smokes and stinks,
sputters, and dies.
BRODY
watching, cowering on the rubber raft to which he fell when
the shark hit the cable. It's strangely silent. The lights
on Cable Junction flicker and die as circuit breakers shut
down the mains, protecting the line. Only the boat's
worklights provide light now.
BRODY
Sean?
No answer. Water lapping at the rocks, some Kids sobbing
quietly. Brody listlessly paddles towards the wreckage of
the raft, expecting the worst...
ANGLE ON THE WRECKAGE
Timmy's Doughdish, where we last saw Sean. There's a
scrabbling from inside, and Sean appears, soaked, from under
the seat where he'd fallen.
SEAN
Dad?
Brody moves toward him, holds out his arms, taking Sean onto
his raft. They paddle back towards the rocks.
THE ISLAND
with the Kids clinging like drowned rats to the rocks; they're
wet, scared, exhausted, but safe. Sean hugs his daddy as
they step onto land.
SEAN
They made me go with them.
BRODY
Sure they did...
He kisses the damp forehead.
DISSOLVE TO:
EXT. AMITY HARBOR - DAY
A crowd of worried parents and adults, Ellen and Hendricks
in the forefront, are staring towards the harbor mouth. It's
dawn and the sun is rising. They see something, a cheer goes
up.
ANGLE ON THE WATER
A big Coast Guard cutter is steaming into the harbor, a little
group of survivors on the foredeck.
CLOSE ON THE CUTTER
Brody and the surviving Kids wave to their families on land.
FADE OUT:
ROLL END CREDITS.
THE END
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